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A NEWBAY MEDIA PUBLICATION How will you tell your story?

Rev. Robert Jones, Sr. uses folk music to tell stories, and CDs to keep them alive. “Folk music is about everyday living. It sings about work and poverty, about love and loneliness, about bravery and fear, and it tells stories. Some stories are fun, some are poignant and some strike to the heart of who we are and who we aspire to be. Those of us who play this music have a responsibility to pass along its lessons to those who are ready eager to listen and learn.”

Make it happen.

www.discmakers.com Contents

S The Musician’s Guide to Recording Presented by Music Player Network and SUZI ROK

WORK IT! 4 Make Your Studio a Better Creative Space

WRITE IT! 8 Songwriting Tips From the Hitmakers

PRODUCE IT! 12 Top Producers Share Their Studio Secrets

TRACK IT! 17 Recording Stunning Piano Tracks HAGGARD

UL 24 40 Paths to Recording Great Guitar Tones PA 30 Capturing Beautiful Acoustic Guitar Sounds 35 Recording Lead Vocals For Maximum Impact 40 A Comprehensive Guide to Recording Bass 50 Capturing the Boom and Bang of Drums

FROM DISC MAKERS 48 Why the CD Is Still a Crucial Music Media For Indie Artists 49 Choosing a CD Manufacturer

MIX IT! 57 34 Steps to Crafting Dynamite Mixes

MASTER IT! 61 Home-Studio Mastering Tips & Techniques S MARKET IT! SUZI ROK 65 Get Yourself Out There!

HEY! Reading someone else’s copy? Get your own copy here: http://www.discmakers.com/RecGuide

COVER PHOTO: SUZI ROKS

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Work It! Make Your Studio a Better Creative Space

Maximize Your Productivity

our studio is an extension of your 12-1/2" x 12-1/2" x 5-3/4". If you don’t need Don’t let this turn into a catch-all “junk” drawer. creative self. In order to maximize that much capacity, there’s the 224 CD Wallet Reserve it for items you use on a daily or near- your creative productivity, you need and 128 CD Wallet. They’re available at most daily basis. —MG to maximize your studio as well— office supply stores; check the web for who’s makeY it efficient, ergonomic, pleasant, and got the best deal. —Craig Anderton DIM THE NOISE comfortable. Any effort you put into stream- Although mood lighting sets a good vibe, dim- lining your gear, de-cluttering, beautifying, and DO A CLEAN SWEEP mers often emit loads of RF noise. But you can improving your space will result in increases Most studio owners are pack-rats—we keep get one level of dimming, with less noise than in productivity, creativity, and inspiration. everything, on the chance we might need it usual dimmers, by inserting a rectifier diode Here’s a collection of good ideas for making someday. The last time I moved my studio, I real- (like Radio Shack #276-1144) in one leg of the your studio the most efficient, productive place ized there were pieces in the racks that hadn’t AC line going to an incandescent lamp. Please it can be. been powered up in over five years. I had cables note that this circuit will not work with fluores- for computers I got rid of 10 years ago! I went cent lights or anything that uses a transformer. EMBRACE through with a fine-tooth comb, placing each Caution! You’re dealing with potentially lethal DISTRACTIONS item in my room into one of four categories: voltages, so you better know what you’re doing! These days, most engineers and musicians 1. Never use, can’t sell. Trash it now! In most Make SURE the circuit breaker is OFF for the spend hours staring at computer screens. This cases, broken/damaged/inoperable stuff fits line feeding the light and its associated switch. can be very hard on your eyes. It’s essential to here. If you haven’t fixed or replaced it, you One way to implement the dimmer is to remember to blink often (really!) to keep your probably don’t need it very much. replace a single light switch with a dual one eyes lubricated. As an even better way to keep 2. Don’t use, but someone else might. These (e.g., Leviton Decora #5634-WSP), wired as your eyes fresh and rested, place something items go up for sale or trade. shown in the diagram. Note that this switch visually distracting behind the monitor. A win- 3. Use occasionally. Remove these items assembly includes a jumper between one side dow works, an interesting piece of art may do from the studio, and store them nearby. Be bru- of each switch; leave this jumper in place. the trick, or I find that something with a bit of tally honest — when was the last time you truly Switch A is the on-off switch, Switch B sets dim motion—a TV (with the sound off, of course) put the piece to use? If it was more than a year (switch open) or bright (switch closed). Inci- — can be a great aid in keeping my eyes mov- ago, consider getting rid of it. dentally, using the dim position also extends ing and refocusing. If your eyes feel tired after 4. Use all the time. These items belong in the a light bulb’s life dramatically. —CA a long session, find ways to visually distract studio where they’re easily accessible. —MG yourself; it works! —Mitch Gallagher MO’ MONITORS KEEP THE I have three computers in my studio. At one BETTER CD STORAGE HELPERS AT HAND time I had them connected to a KVM switch, Storing sample CDs in CD binders (also called There are some small items I reach for con- which allowed me to use one monitor and one CD wallets) not only saves space, but it’s eas- stantly—certain adapters, tape measure, keyboard/mouse with all three. But I’ve come ier to flip through the binder than read the screwdrivers, SPL meter, etc. To keep them to realize that screen real estate is critical. I still spines of CD or DVD cases. For example, the handy, I have a rackmountable drawer (Quik- use the KVM switch for the keyboard and Fellowes 320 CD Wallet packs 320 CDs, or 160 Lok, Middle Atlantic Products, and Raxxess are mouse, but each computer has its own moni- CDs and 160 booklets, in a space that’s only some sources) in one of my racks. Warning: tor. (I’ve gone to flat-panels to minimize

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Work It!

footprints.) The main DAW computer has a big ing, pick up some Velcro or elastic band-type you rearrange your rack gear. You don’t need a screen, while the PC (mainly used for Acid and cable wraps to get things in order. —Greg Rule big honking construction-grade drill; a com- GigaStudio) and a second Mac (used as a server, pact unit provides plenty of power. —MG for backup, burning discs, and miscellaneous POSITIVE PLACEMENT tasks) have 15" screens. —MG I place my computer keyboard and monitor off CONTAINMENT to one side at 90? to my control surface and Organizing cables, adapters, and miscellaneous GROUP THE GEAR speakers. This lets me focus on the computer “stuff” can be a nightmare. I went to my neigh- Some studios seem to install rack gear randomly. screen when editing and doing “visual” work, borhood Wal-Mart and purchased a stack of I prefer to group rack pieces by function: All my and allows me to focus with my ears when I’m plastic boxes with snap-on lids in different sizes synths/MIDI interfaces are in one rack, mic pre- performing mix moves. Editor-at-Large Craig (priced from 88 cents for a shoebox size to under amps are together in another, as are processors, Anderton takes this approach one step further: $3 for a large bin). I gathered each type of item interfaces/recorders, and so on. Having a He sets up two parallel tables, 5' apart. The com- in a box: short 1/4" patch cables, medium-length scheme in mind makes it easier to find and use puter monitor and keyboard go on one, mixer MIDI cables, mic stand clips, XLR adapter cables, what you want, and to run cabling. —MG and speakers on the other. In addition to improv- etc., then applied labels. The boxes stack nicely, ing concentration when performing visual versus allowing more efficient use of space. —MG SNAKE THE CABLES listening tasks, he finds that having speakers Once you’ve settled on the lineup and place- behind him cuts down on ear fatigue when doing DON’T BOX ME IN ment of your main studio components, and non-critical work. If he needs to listen more care- Is there anything worse than crouching behind have everything wired, snake those cables. You fully, he just turns his chair around. —M a dimly lit rack, barely able to move, trying to can pick up some flexible (and affordable) tub- get a cable plugged in the right jack? It may ing at OfficeMax and other such outlets. In POWER DRIVE seem like a waste of space, but leaving plenty studios where cabling is visible, a couple of Is there a more valuable studio tool than the of room to maneuver behind racks, and pro- snakes will look much cleaner to you and (most power screwdriver? If you don’t have one, run— viding adequate light back there, whether a importantly) your clients than piles of tangled don’t walk—to your nearest store and purchase flashlight or small lights mounted inside the spaghetti. If you don’t want to bother with tub- one. It will easily pay for itself the next time racks, is well worth it. —MG

Beat Your Home Studio’s Poor Acoustics

ecording and mixing music is a lot of press it. Or maybe you just can’t get the bass to resonate when excited by similar frequencies in fun. And if you produce your own sit nicely in the mix regardless of what you do. the music. Low frequency reflections create music, it’s even more fun to hear the When you finally manage to get what you think standing waves that skew the frequency response ideas take shape and begin to sound is a good mix, as soon as you play it in the car and make bass instruments sound muddy. You Rlike a “real” recording. But most of us encounter or on a friend’s stereo, your heart sinks as you might have the finest loudspeakers in the world, frustration somewhere along the way. Perhaps realize how poor it sounds compared to your but they’re of little value if the room itself cre- you have an impossible kick drum that sounds favorite commercial recordings. ates numerous peaks and dips throughout the like cardboard no matter how you EQ or com- The good news is that many of these vibe- entire low end. Nulls as deep as 25dB and more killers can be solved by understanding and are not only common, but also typical (Fig. 1). fixing the acoustic problems that exist in all This graph shows the low frequency rooms. I’ll begin by describing the most com- response measured in a typical 16x10x8 foot mon troubles caused by poor acoustics, and untreated control room. A pair of Mackie HR- then explain some ways to correct them. 824 loudspeakers were placed against the front wall with the tweeters at ear level, and the WHAT’S WRONG WITH measuring microphone was placed precisely MY ROOM? at the mix position. Note the peak/dip pair at All acoustic problems are caused by reflections 110Hz and 122Hz where the response varies a off the walls, floor, ceiling, and objects inside the staggering 32dB across a range smaller than room. At mid and high frequencies, reflections one musical whole step. No wonder you can’t can cause echoes and excessive ambience that distinguish bass notes! Now imagine trying to confuse stereo imaging and make it difficult to create an accurate mix under those conditions. Fig. 1—The horrendous frequency response tell how much reverb and echo you’re adding In my experience, room acoustic problems shown here is typical of the small rooms used electronically. In severe cases, midrange reflec- are often the main limiting factor on the sound for home studios. tions also cause ringing — new tones that quality obtainable in home studios. Unfortu-

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nately, too many people consider everything is definitely a case where two wrongs do not end is to make your own room as accurate as but acoustics when they have trouble making make a right. There’s nothing you can do about possible. Therefore, any errors the listeners hear a mix sound the way they’d like. There’s no deny- the room in which your music will be heard, are introduced by their own rooms, rather than ing that audio gear with rows of lights, knobs, but you can do something about the room in having a combination of errors from your room and switches is a lot sexier than boring acoustic which is it mixed. and theirs. panels and bass traps. But acoustic treatment The important point to remember is that Besides improving the accuracy of your will influence your sound more than the rela- all rooms have a unique frequency response, entire system, proper acoustic treatment makes tively small differences (comparatively so if for example your room lacks deep bass, recording and mixing more effortless. It’s a rev- speaking) among various mic preamps, sound your mixes will contain too much bass because elation the first time you hear every note cards, and outboard compressors. you will attempt to compensate for what you articulated clearly by an electric bass, and are Of course, not everyone recognizes the need hear. If someone plays your mix in a room that able to discern even tiny changes in EQ and for acoustic treatment. Part of this is based on has too much bass, the error will be exagger- effects settings. It’s a change on at least the the legitimate concern that the music won’t be ated, so they’ll hear way too much bass. The same kind of level as switching from cheap heard in a treated room anyway. However, this only way to minimize problems at the listener’s speakers to studio monitors. —Ethan Winer Home Studio Tips from a Big Studio Designer

roject and home studios are often a focal point in our room. How about a piece to work acoustically in your room. located in basements and spare bed- of art? Or some really nice pillows on a seating What lighting mistakes do studio owners rooms, which have numerous area? And, of course, you must have a really often make? limitations. For many studio owners, good chair. The Hermann Miller Aeron has The single biggest mistake is not paying Pmajor reconstruction and remodeling aren’t been around for years and in my opinion is still attention to the lights. For most people, light- an option—surface treatments, furnishings, the one. It’s classy, and it lasts. ing is an afterthought. Get some advice, choose lighting, color, and equipment are about all Are there particular room layout/ the fixtures carefully, make sure that they’re that may be changed. ergonomic principles that you recommend? properly matched with the dimmers—as this Despite this, many personal studios rise Room layout is always a personal thing. is what usually makes noise in a studio—and above their limitations and become comfort- There’s really no right or wrong way to work. think about maintenance. able, inspiring places to compose and record Most people want to be able to get to almost How do you recommend small studios deal music. To try and track the elements of cre- everything easily and quickly—kind of like of with the inevitable clutter problem? atively successful personal studios, we an airplane pilot. The problem arises when If you can splay acoustic treatments and consulted Beth Walters—Interior Designer with there’s too much equipment for this to happen. equipment away from the walls it gives you the the Walters-Storyk Design Group—who has Make sure you can wheel your chair easily opportunity to incorporate storage behind designed an incredible array of studios of every to critical listening positions. Put the most them. Raise some equipment up and put stor- price point and size. Our discussion revealed important items closest to the acoustic cen- age below. Order extra racks and install drawers myriad suggestions and techniques that an terline of the room. When you have positioned in them. Maybe the whole room can be ori- interior designer might use to create a vibrant, everything where it feels correct then make the ented on a different axis where you will end up relaxing, inspiring studio space. acoustics work. Symmetry is the single most with storage space in the front or on the sides Are there techniques for making a small important design element you can introduce that you didn’t realize you had. room feel more spacious and open? in arranging a room. What methods do you use to hide the mul- Eliminate as much clutter as possible and Facing the window or not depends on your titude of cables that must run throughout a keep your color scheme monochromatic — personal preference. Some producers will only studio? using shades of one color. Once a person called look forward when working with talent—end This is always a tricky subject. For small our office and asked what they should do with of story. If there’s a great view from your stu- rooms, the most successful solution is to house their 20' x 20' basement space. Our quick dio, make this work for you. For Carter Burwell, the cables within the studio furniture. The few answer was: “Make a closet.” This would elim- in New York City, the view of lower Manhattan wires that have to leave the central furniture inate clutter and of course eliminate a serious was absolutely a requirement in organizing the piece can either be worked into sidewall treat- potential standing wave problem. primary listening position of the room. Again, ments, perimeter wire raceways, or an What makes a studio feel comfortable and when the window decision has been made, occasional wire run on the floor covered with relaxing for long hours of work? then make the acoustics work. Remember glass wire mold. Another trick is to have a platform Good ergonomics, soothing lighting, coor- isn’t a bad thing in a studio environment. What in the front of the room. This allows the wires dinated colors and a great chair. We all know is bad are reflections from any surface that will required for front speakers, amps, and video how much gear we can collect, but there are cause harsh acoustic responses, such as comb monitors to be placed in a trough with a remov- other things that we might consider using as filtering. Almost any piece of glass can be made able cover. —Mitch Gallagher

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TEN ACOUSTIC IMPROVEMENTS FOR SMALL ROOMS

Orientation: Assuming you’re in a normal rectangular room, ori- the left speaker bounces off the right wall into your right ear, or vice ent your mix position so the speakers are facing the long way into versa, imaging suffers. The solution here is to place 2x4-foot absorb- the room. The two most important goals are maintaining an equi- ing panels in selected locations on the side walls and the ceiling. Place lateral triangle having left/right symmetry within the room, and one panel vertically on each side wall halfway between the loudspeak- placing yourself as far as possible from the surrounding walls. Hav- ers and your ears, and a third panel horizontally on the ceiling, also ing the mix position slightly forward of the halfway point yields the halfway between you and the speakers. To be sure you have absorp- flattest low-end response, and the ideal speaker height puts the tion in all possible early reflection points, sit in the mix position while tweeters level with your ears. a friend places a mirror flat against the side walls. Any surface where Speaker placement: Once the basic placement of your loud- you can see either loudspeaker in the mirror should be covered with speakers and chair are correct, you can try the speakers at different absorption. You can also do this on the ceiling by attaching a hand distances from the front wall to see which yields the smoothest mirror to a broom stick with rubber bands. sounding bass response. If your room is small, you may have no Bass traps: Although reflections at mid and high frequencies are choice but to put the speakers flat against the wall. That’s perfectly more easily noticed, low frequency reflections are more damaging. acceptable, and many active monitors include switches to compen- Any decent bass trap should have substantial absorption at 300Hz sate for this placement, which tends to boost bass somewhat. But and lower—hopefully much lower. The least expensive bass traps if you have some space to work with, placing the speakers a few feet are 4-foot bales of fluffy fiberglass, left in their plastic wrapper, and in front of the wall often improves the response by making it flatter stacked in the room corners. They may be big and ugly, but they in the bass range. perform reasonably well, especially given their low cost. The next Decouple your speakers: Sound travels through solid materials step up is rigid fiberglass panels wrapped in cloth and placed strad- faster than through air. So when loudspeakers are sitting on a desk, dling the room corners, including the ceiling corners. Commercial low frequencies can transmit from the speaker’s enclosure through bass traps include foam corners, corner mounted rigid fiberglass, the desk and floor and arrive at your ears before the waves in the and wood or fiberglass-based membrane traps. air. If the secondary path is strong enough, the phase shift caused Many people believe that bass traps should be tuned to specific by this time delay contributes to low frequency response errors. One frequencies, based on the room dimensions. But this doesn’t take solution is to buy speaker isolation pads made for just this purpose. into account the fact that severe peaks and nulls exist in all rooms You can optionally make pads from rigid fiberglass or even kitchen at all frequencies. Therefore, the best bass traps for all rooms are sponges—the kind that become stiff when dry work best for this. those that absorb the entire range of low frequencies. Mid/High frequency absorbers: There’s a significant difference Diffusion: Diffusion minimizes the damaging echoes and comb between materials and products that absorb from 300Hz and up filtering effects caused by reflections off nearby walls, though it’s and those that are effective at lower frequencies. One common treat- used most often in larger rooms. Diffusors range from small, light- ment that helps a little is heavy blankets or thick bedding hung on weight plastic panels that resemble a city skyline, to large expensive the walls. However, these materials absorb only the highest frequen- Quadratic Residue Fractal designs. If the room and budget are both cies; what almost all rooms really need is broadband absorption. small, simply placing absorber panels on troublesome surfaces Treating only the high frequencies may actually be worse than hav- makes sense. But when money is no object and you want to retain ing no treatment at all. as much liveness as possible, diffusion is very useful. The reason why so many studio designers specify panels made Room EQ: Trying to use equalization to correct low frequency of acoustic foam and rigid fiberglass is because they absorb to a room problems simply does not work. The peaks and dips shown lower frequency. For a given thickness, rigid fiberglass absorbs to in Fig. 1 are very localized; if you move even two inches away the about an octave lower than foam (for example, typical foam that’s response changes drastically. So while EQ can help a little to reduce two inches thick is useful down to 500Hz; rigid fiberglass of the same mid and high frequency response deviations, it is inappropriate for thickness absorbs well to below 250Hz). Fiberglass is also fireproof. the more damaging low frequency errors. As the old saying goes, The downside of fiberglass is that it must be covered with fabric to “equalizing a room with poor acoustics gives you an equalized room prevent the fibers from escaping into the air. In either case, though, with poor acoustics.” don’t make the common mistake of covering the entire room with Egg cartons and non-acoustic foam:These do not work either. Egg thin material. This makes the room sound creepy and lifeless, yet cartons are far too thin to be useful, and non-acoustic packing foam boomy at the same time. lacks the porous “open-cell” structure needed to absorb sound waves. Reflection free zone: One common cause of poor stereo imaging Styrofoam panels:You’ve probably seen these lightweight, inex- involves early reflections — echoes that arrive within 20 milliseconds pensive panels at home supply stores. They’re about an inch thick, of the direct sound from the loudspeakers. Instead of sounding like and often pink. Unfortunately they have no useful acoustic prop- echoes, early reflections fuse with the direct sound to create “comb erties, other than the fact that they make strange noises if you hit filtering” effects, and therefore obscure clarity. Worse, if sound from them with a baseball bat. —Ethan Winer ●

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Write It!

Songwriting Tips From the Hitmakers you think you can teach someone to write a hit song, why not show them how to conjure elephants from Hershey bars while you’re at it? Hit songs are voodoo spells dressed up as songcraft. The real kick is that virtually anyone can invoke the basic incantation— all you need is a melody, some lyrics, and a few chords. But what turns those simple elements into a work that inspires massive consumer frenzy is beyond human comprehension. So why worry about it? As the wise old hunter used to warn in ’30s African safari films, “You could waste your life searching for the elephant’s graveyard.” So rather than get lost in unsolved mysteries, let’s focus on the tangible structure of pop songwriting. Songwriting is, after all, Ifa craft, and the basic components of that discipline can be readily examined. To help you improve your songwriting chops, we’ve enlisted the aid of several well-known songwriters, most of whom have been lucky enough to strike that mystical connection with the public. Feel free to, ahem, “borrow” a few of their ideas to use as foundations for your own songs.

JOHNNY RZEZNIK David Crosby, Graham Nash, and Stephen Stills “The one thing somebody told me which helped me a lot was, ‘The A material definitely lies beneath the B material.’ You have to let yourself go, and accumulate a lot of crap, and then sift through it to get to the good stuff. You can’t rush it. A lot of times I’ll pick up the gui- tar and play, and if a song’s not coming, I do something else— clean the house, listen to some music—and come back to writing later. There is a time for your internal judge to come in and make the call, but you have to free your- self from that in the beginning stages of the creative process. I’ve often stifled myself because I was trying to bash the music into shape instead of letting it lead. When I shut off the judge in my head, music usually comes quite easily.” way, and the intuitive, imaginative mind gets a shot at the steering wheel. My friend, science RAY DAVIES BJORK fiction writer William Gibson, told me, ‘It’s an “I’m very scathing about art school, but it really “Songwriting is like a thunderstorm building established phenomenon. The elves take over taught me to look and to translate. I would go up inside me. If I don’t write songs, I get all bot- the workshop. That’s why all writers keep a pen out to a location, do some sketches, take the tled up. It’s almost like a survival mechanism. and paper by their bed.’” project back to college, and then turn it into For me, music has to have a little speck of something. I was good at that. To gather mate- intrigue or the unknown. Also, I’m an old- JAMES HETFIELD rial for songs, I would watch the way people school romantic in the sense that even if you “I’ve got so many notes and little things that I interacted—although, generally, the people I write songs about dark stuff, the root of the write down every day. Some of those lines are wrote about didn’t interact much in the world. song should be about going through the tun- really important, and I’ll just take one and move You have to find a way to get your head work- nel and coming out on the other side with a on from there. Sometimes, there’s more than ing, and really look at something that’s happy ending. I’m not into songs that are just just a line, and sometimes there’s nothing. seemingly nothing to look at. You must dis- about self-pity or self-indulgence. I usually There’s a song title, and you just go. That’s the cover some element to take out and use in your look at songs as little trips that show you going beauty of it. Even if I do have an idea of where work. People don’t look enough. So much is on your way to some other place.” I want to be, I might end up somewhere else— handed to us by television, newspapers, and which is even cooler. But you can’t get to that other media that we don’t really look at any- DAVID CROSBY spot unless you travel the other road. You might thing anymore. “Very often, ideas come to me when I’m falling be all frustrated, and then one line will just “I tell writers to do whatever it takes to keep asleep—when the busy mind gets out of the open up so many doors.” your brain sharp. I’ll find something in the

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newspaper and say, ‘What would I do if I had • Use of the word ‘baby.’ to write that as a song?’ I did a British TV series • Gambling. Rolling of the dice in any way, in the early ’70s where I was given an assign- shape, or form. Ace of spades, queen of hearts, ment on Thursday, wrote the song on a Friday, etc. and it was in the show on Saturday. That kept • Weapons. Usually guns or knives. me sharp. Every writer is different—everyone Many of these clichés were originally writ- has their own handicaps, assets, and needs.” ten by great writers, but now they’re misused over and over again. I’m guilty of some of them SHAWN COLVIN myself. I don’t consider myself a great writer, “I’m the type who has to get up every five or but I would like to think that I can at least proof- ten minutes and get a drink of water, or pre- John Haitt read.” tend I’m interested in something else. But often that’s when I solve a problem. There’s a strange PAUL WESTERBERG little important moment when you say, ‘I’ll clouds, snow. If one more person prays for rain, “When the title comes, it all falls into place, write that down. That might be something.’” I’ll scream. because the title sets the mood. For instance, • Geography. Mountains, rivers, valleys, ‘Mannequin Shop’ was a silly title that came CHRIS CORNELL streams, oceans. Usually someone is crossing from a People magazine article about plastic “It’s easier to be ‘vocally creative’ over odd-time or climbing one or more of these to get to his surgery. Once I decided I was going to write a riffs. In a weird time signature, there’s really or her love. disposable little pop song about something only one thing you can sing, and it jumps right • Any reference to angels or hearts. current and ridiculous, it just flowed. If I hadn’t out at you. Straight-four riffs have been around • Traveling or rambling from town to town. come up with that idea, it would have been a for so long that you can end up writing the Either in a train or car with your baby, or alone, laboring effort. But once you make up your same song 500 times.” searching for, or running away from your baby. mind that this is going to be a cute one, no two WILLIE DIXON “I get a thing in my mind—the words that I would like to say, and the expression that I James Hetfield (far right) with Metallica. would like to have them said in to get the best results. I would like the song to be part of life, because I’ve always felt like blues was the facts of life being expressed to people that didn’t understand the other fellow’s condition. This gives me the chance to say the things that I felt people would want other people to know. This is the way I mostly wrote my songs.” JOHN HAITT “About 50 percent of my lyrics are autobio- graphical, and about 50 percent is making up stuff, adding to, or out-and-out lying [laughs]— which I like to do quite a bit. It’s the artist’s duty!” AIMEE MANN “Most lyricists don’t want to write meaningful stuff. They want to write stuff that sounds meaningful, which is a different thing alto- gether. They rely too much on the standard rock clichés. Good writers turn the clichés around, so at least you know they’ve thought about it, rather than saying, ‘Well, I’ve heard this 800,000 times, so it must be good!’ I try to avoid certain images that I feel have been done to death, such as: • Weather and the elements. Rain, storms,

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Write It! SONGWRITING TIPS FROM THE HITMAKERS

ways about it, you can go for it. Now, if it’s a not exactly a new idea. I think Talking Heads rock and roll song, I’d say get your gut feeling explored it on Remain in Light, and Bowie was out—whatever it is. Even if you think, ‘Oh, I definitely making up lyrics and melodies on can’t say that,’ go ahead and say it. Spit it out, the spot when he recorded Scary Monsters. This and if you’re going to be a fool, be a fool.” approach leaves you open to discover what really works on a soul level. CHRIS CORNELL “For example, experienced writers often “Sometimes personal lyrics can be endearing disregard simple chord progressions as bor- and cool, and make you feel close to the writer. ing. But sometimes a vocal melody can sit on But, a lot of times, you get this feeling of ‘Why top of a simple progression in a way that makes do I care? So you had struggles with your rela- the song special. It goes beyond the literal tionship—good for you. Everybody does. F**k meaning of the lyric or the catchiness of the off.’ I’d rather go more towards the Syd Barrett hook to that elusive thing—I call it ‘reso- school, and write about shoelaces and banana nance’—that makes lullabies and gospel music skins, and make it all seem congruent in this so timeless. I also use subconscious writing as weird fantasy world that makes you want to go a way to connect with the listener, because I there when you get off work.” think the stuff that resonates with people is Lyle Lovett pretty universal. It’s like, how much can sex NEIL FINN change in a couple of thousand years? Culture “I like to leave as much as possible in the early working on an emotional level. If I’m writing a can change, but, on a soul level, people need stages to a kind of unconscious process. I’ll song, and something is happening that has the the same things.” find a place where there are no distractions, potential to give me goosebumps, then I’ll want get into a dreamy state, and just mess around to pursue that path. I got into music in the very NEIL FINN with chords and chord sequences. Eventually, beginning because I heard music that gave me “To some extent, a song either has it, or it little melodies come out, and it’s really a mat- chills. And I thought, ‘I want to do that. I want doesn’t. If I can form an emotional connection ter of recognizing what’s good. You have to be to give somebody else chills!’ So, for me, it’s all with a piece of music, then it has worth and careful not to think too much about things. For about discovering the emotions in the music.” I’ll pursue it. If it just feels slight, or if I can example, my wife—who doesn’t write songs— admire it on the surface, but it doesn’t actually will get in a buoyant mood, and just sort of sing PAUL WESTERBERG make me feel anything, then it’s gone.” along with some chords I’m playing. And, “You may think you have to be really aggres- sometimes, the melodies she sings are as good sive or flashy on the guitar, but, more often BEN HARPER as anything I could write. I think that’s because than not, that gets in the way of what the song “Don’t be discouraged by writer’s block. Writer’s she’s just kind of going with the moment, and is saying. You have to make up your mind: ‘Am block just means you need to listen to other letting something come out that’s very uncon- I going to be a player, or is this going to be a music. That’s how new ideas come, and how scious. And that has to be the beginning of song?’ Don’t worry—there’ll be a spot in the musical inspiration is passed on—through songs. If you’re too disciplined in the early song for someone to show off—whether it’s other music and other brilliant artists. You can stages of the writing process, then there’s a you or another guy.” re-listen to the stuff you love, but that’s not good chance your songs will sound a bit flat or always going to pull you in new directions. With uninspired.” LYLE LOVETT that mental downtime, you can listen to Lee “There are varying degrees of success when Scratch Perry or Jeff Buckley or the first Pearl RAY DAVIES you’re trying to express an idea. I think the most Jam record. You can listen to Tim Hardin, Delta “I recommend minimalism wherever possible. important ingredient in a song is the idea, or blues, country, Emmylou Harris, Dolly Parton, If something is simple, and the observation is what you’re trying to say. If you have a clear Paul Weller, and Run D.M.C. Listen to what- true, why burden it with a melody that takes it idea of what you want to say, then you know ever pulls you in different musical directions into some other realm? You must find an emo- when you have said it, and the song is finished.” so that you don’t start copying yourself.” tional moment in a song, as well. A film can only go for about seven minutes before it must CHRIS WHITLEY RICK NIELSEN have an emotional moment on the screen. Oth- “An ‘intentional’ songwriting approach, is “There’s no real voodoo in writing guitar riffs— erwise, the audience gets bored. With songs it’s where you pick a topic and then write about you just look for something that catches your the same, except that you have three minutes— it. When you come at a song like that—with a ear—but a good lick should be easy to play. If not 90 minutes—to make everything happen.” presupposed literal intent—you block your- it’s unnatural to play, it should be Mahavishnu self, and your subconscious can’t speak. Orchestra or something! I mean, listen to Hen- ROBBIE ROBERTSON Howevever, when you pull something from drix’s ‘Purple Haze’ and ‘Foxy Lady,’ or ‘Last “I try, to the best of my ability, not to think the your subconscious, you get visceral metaphors, Time’ by the Stones—they sounded neat the song to death. The main criteria for me is if it’s rather than literal or literary metaphors. It’s first time I heard them, and they still sound

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SONGWRITING TIPS FROM THE HITMAKERS Write It!

good today. I never get tired of hearing those ing act between the instinctive thing that leaps licks. Sometimes it’s the simplicity that makes right out of you and the refinement of that a lick timeless. Too many guitarists get hung moment. The first time you sing a line, you up on not wanting to sound dumb. It’s like might use a weird phrasing, or put a line on when I saw Mike Judge on Late Night with the upbeat rather than on the downbeat. Shifts David Letterman, and Dave was giving him a like that will change everything, and you have hard time about Beavis and Butthead, saying to document what you did. You see, most writ- the show was so stupid that anyone could have ers now aren’t Leonard Bernstein—thank done it. And Judge just answered, ‘Yeah, but I God—who actually notated everything from did it first!’ So, think about ‘Purple Haze.’ Any- day one. Most people come into songs by acci- body could have played that lick, too—it’s dent—including me. They get an idea, think simple—but nobody did. Not until Hendrix. they’re doing one thing, but they’re actually The bottom line is that there are 12 notes avail- singing in 3/4 or 6/8 or something. But you can able, and you have to do something with them. always play the tape and say, ‘Oh, that’s how I Make them work for you, or make them work Robbie Robertson did it!’ On the other hand, writing down ideas against you. And remember: Everyone else has is such a finite thing, and sometimes you don’t those same 12 notes, so it’s always going to be funny way that you get from the chorus to the write what you hear in your head. It’s very dif- interesting and challenging to come up with a verse—that doesn’t sound like how anybody ficult to come from the dream to the page.” unique signature riff.” else would do it—that is actually what will make people notice you. If you spend too much time LIZ PHAIR LIZ PHAIR learning other people’s licks on guitar and also “Recording is the weirdest thing about being “I typically write progressions visually on the try to sing like somebody else and write songs a songwriter, because it stops the songwriting fretboard—and also tactilely. Rather than think- like somebody else, you run the risk of losing process. It freezes that version in time. You don’t ing, ‘Oh, this is a G, A, D chord progression,’ I’ll yourself in the process.” know what the song could have become if you look at where my hands physically rest on the had kept going, but stopping may be the mer- neck, and kind of reach my fingers around to ROBBIE ROBERTSON ciful thing to do.” find other chords. Otherwise, if I have a chord “There’s something to be said for experimen- progression that I like, and I don’t know what tation—breaking some of the boundaries and RICHIE HAVENS to do next, I’ll think, ‘Is this low on the neck? challenging yourself. There’s nothing wrong “I don’t claim to write songs. I write them down, Well, then I’ll jump really high.’ I try to keep with sitting at the piano, writing some nice verse by verse, without changing a thing. And the changes real contrast-y. Either that, or I’ll chord changes, putting a melody to those I’m often surprised when they turn out to have just kind of crawl around like a spider with my changes, and adding a potent lyric. But there deeper and higher layers of meaning than I’d fingers on the fretboard. I do conceptual tricks are other means of discovering the song. I don’t first imagined.” to break formulas and inspire new directions. know of any right or wrong, or good or bad, in I’m really brainy about my songwriting on the any method. I think whatever inspires you— RICHARD THOMPSON guitar—but in an ignorant way.” and provokes you into getting at what is deep “Someone very wise once said, ‘Copy every- down inside you—is the best method. one except yourself.’ Looking at other people’s NEIL FINN “Using an unfamiliar method, however, can ideas and twisting them to fit your own style “It’s a bit cruel perhaps, but I think it’s better lead you down a path where you don’t resort is a good thing. You can also catch yourself trav- for writers to get to a point early, rather than to the same type of structure and melodic eling down the same road you’ve gone down later, where they realize that they have some intent. For some of the songs on Contact from before, and nip it in the bud right then and abilities but they don’t have anything that sets the Underworld of Redboy, I’d make a strange there. You can say to yourself, ‘I’ve used the them apart. That’s an awkward row to hoe, noise on the guitar, then record it and loop it. same chord sequence before—how can I twist because you might end up struggling for years— Or I’d program a drum loop. Often that little it slightly to make it into a different chord in your mind, putting all the right pieces together noise and that little rhythm would make me sequence? Can I do something no one has ever and making impressive music—but never pro- want to write a song, so I’d improvise over it done before?’ It’s important to keep searching, duce anything that has an obvious character. until something developed. Now, this is a dif- and not go for the obvious idea.” “What’s weird to me is that people contin- ferent writing process from the Cole Porter ually make the mistake of trying to copy other method of sitting at the piano with a cold mar- RAY DAVIES people’s styles. I mean, I did it to some extent tini, but I find it’s very healthy—in a creative “Having a band perform your work is critical. when I started off, as well. But, at some point, sense—to keep yourself slightly off balance.” That’s what I call dramatizing your music. you have to realize that the flaws and weak- When I use this word “drama,” I don’t mean it nesses in your style are exactly the things that RAY DAVIES flippantly. If the dramatization doesn’t work— give you character. You should allow those flaws “I recommend that writers record all the time. which is you performing the song—you should to exist, and, in fact, work on them. It’s the When you’re writing, you’re doing this balanc- look at it again.” ●

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Top Producers Share Their Studio Secrets

WILL.I.AM ing—and it goes beyond a certain point—you MICHAEL BEINHORN Selected Credits: Black Eyed Peas, Michael also have to learn to cut your losses and say, Selected Credits: Marilyn Manson, Ozzy Jackson, Usher, Cheryl Cole. ‘Okay, let’s forget it. Let’s start again tomorrow.’ Osbourne, Red Hot Chili Peppers, Soundgar- “The role of the producer is the same as it ever You can dig yourself into the ground if you’re den. was. There are just different tools to execute not careful. Having said that, you should be “I record individual guitar tracks in mono, and your thoughts and ideas. The tools have made open to things that don’t go as planned, or that I like to layer tracks. I always begin with one or it a little bit easier to articulate your thoughts. might even be mistakes. I think that’s often the two guitars per channel, but you have to be open And as they are more user-friendly to aspiring excitement of music. The odd mistake—it does- to the possibility that things will sound better producers, they can bring forth the things they n’t matter. In the end, it’s the music that matters. done another way. I’m a big fan of the have in their heads, and, as a result, you’re Some musicians get obsessed with their own humungous wall-of-guitars approach, so it’s a going to get a lot of young guys doing all these navels.” —Michael Molenda matter of trying to fit everything in. I place the crazy tricks. But the one thing that technology mics as close to the speaker cone as possible. I can’t mimic is that natural raw magic. Captur- BOB CLEARMOUNTAIN don’t like ambient sound, so I don’t use room ing that is worth more than any crazy trick. You Selected Credits: Bruce Springsteen, Rolling mics. I don’t use compression when tracking can do all the editing tricks in the world, but Stones, Bon Jovi, Paul McCartney. guitars, because there’s usually a tube in the natural magic is natural magic, and capturing “When I’m mixing, I start by putting all the faders amp that’s already doing a lot of compression, that is priceless. up—a sort of very quick rough mix. Usually, I’m and I don’t like to spoil it. Additional compres- “You see, what I do is no different than what unfamiliar with the recording, so while watch- sion also tends to muddy the top end, and one somebody reading this magazine could do. I’m ing the channel meters, I’ll solo each instrument of the nice things about high-gain amps is that no better than nobody else. I’m not the best briefly to find out its contribution to the over- they’ve often got amazingly clear and beautiful singer, I’m not the best keyboard player, and all picture. I’ll play it through once with the top end. Sometimes, I’ve blended synthesizers I’m definitely not the best producer. But it’s all vocals up to have an idea of where the lyrics are in with the guitar sound to modify it, because, interpretation. I believe my interpretation, and going, and get a picture of what the mood should tonally, a synth does something to a guitar that I have a strong belief that somebody else will be. I’ll play the tune down several times, some- nothing else really can.” —Barry Cleveland believe it—that he or she will appreciate my times rewinding over certain sections where interpretation of music. So that’s all it is—per- instruments or vocals are entering, until I have GEOFF EMERICK spective and interpretation.” —Lisa Roy a good idea of what each instrument or vocal Selected Credits:The Beatles, Jeff Beck, Cheap sounds like so I can quickly identify them later Trick, Supertramp. GEORGE MARTIN in the mix. While I’m doing this, I’m also trying “A lot more thought needs to be given to a Selected Credits: Beatles, Jeff Beck, Mahav- to put the elements in a perspective that makes sound before it’s recorded. In the Pro Tools era, ishnu Orchestra, Ultravox. sense with respect to panning and levels. I’ll this fact gets overlooked. You can’t have a bad “If something isn’t happening, I try to find out then begin to EQ instruments that don’t seem sound in the studio, and think you’re going to why it’s not happening. There can be any num- to be sitting properly after adjusting levels and make something wonderful out of it. In the ber of reasons. Perhaps the artist is not really panning. After that, I might work on the drums Beatles’ days, it took quite a few hours just to well, or is in a bad mood. His or her instrument and bass a bit to get a good basic rhythm thing craft the sounds from John’s and George’s amps. might be giving them problems, or he or she happening, or I might find an appropriate lead Part of this was because we were recording in may not like the song they’re doing. The idea vocal effect, or perhaps experiment with how mono—which makes it more difficult to give is to remove anything that is obstructive. You the various instruments play off each other in each guitar its own space when everything is have to get to the root of the problem, and then the stereo picture. I might patch in an outboard blaring out of one speaker. Another part of it move onwards. compressor or EQ on an insert if an instrument was that John was the aggressor and always “One of the primary things about being a or vocal needs it, and maybe try some delays or played flat-out, whereas George was more del- producer is that you have to be patient. But if reverbs to see what might add to the vibe.” — icate. Then, the only EQ we had, other than a situation is deteriorating rather than improv- Jeff Anderson that on the mixing desk, was on the guitar

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Produce It!

amps. And we’d often record both of their gui- Mark Knopfler,Willie Nelson. tars on one track! It took hours to alter those “For miking acoustic guitars, I rely mostly on extra little 1dBs of this and that to give the gui- Neumann KM184s, KM84s, and KM56s, and, tars their identity. And this was all done before often times, I’ll do an X/Y pattern with a pair the tape rolled. These days, everyone thinks of them—maybe four inches from the body you can just open Pro Tools and create a hit. near the 12th fret. That gets the typical Nashville But the overall sound is really down to the vibe, strumming acoustic-guitar sound. If I need a the feel, and the song. Nobody even talks about brighter and more present sound, I use a pair the song anymore. I’m still using basically the of Audio-Technica AT4051s. For a chunkier rock same technique I used back in the Beatle sound, I place a Neumann U67 about two-and- days—which is to position a Neumann U47 Andy Johns a-half feet straight out from the soundhole. I wherever the guitar or amp sounds the best. I EQ and compress while tracking. For acoustics, do experiment with ribbon mics, dynamic I use a Universal Audio 610 mic preamp, and I mics, unconventional mic placement, and pull out a little bass around 70Hz, and I add a blending three or four mics together, but I little top around 10kHz. Then, I go into a Joe- almost always end up printing just the lone meek SC4 compressor to create a big sound U47.” —Michael Molenda that’s right in your face.” —Barry Cleveland EDDIE KRAMER CHRIS LORD-ALGE Selected Credits: Jimi Hendrix, Led Zeppelin, Selected Credits: Avenged Sevenfold, Third Deep Purple, Kiss. Eye Blind, Slipknot, Stone Temple Pilots. “Don’t track guitars in isolation. Rehearse your “I believe there’s only one way to get in the material so you know what the hell you’re doing business of producing. You have to find the when you walk in the studio, track the thing as nearest recording studio that has somebody live as possible with a band, and if you must cool in it, and beg, beg, beg to make the guy Bob Clearmountain punch in a guitar part, don’t belabor the point. behind the board coffee. Beg to clean the toi- After all, it’s got to have some hair on it. I always let. Beg to work there. Be a fly on the wall. Be printed reverb and compression to tape, and in the room with the guys who make hits like committing to a sound while tracking stays Bob Clearmountain, or Tom Lord-Alge. Be in with me to this day. Otherwise, you wind up the room with Andy Wallace. Do whatever you editing in Pro Tools for months. I mean, ‘Come can do to get in the room. Take note of every- on guys, it’s rock ‘n’ roll!’ It certainly ain’t sci- thing they do, and find a way that you can do ence, and the more records sound like science it for yourself—and do it better. Learn the tech- projects, the more they sound the same. The niques of the vanishing art of recording from reason why Zeppelin, Hendrix, and the Stones the guys that really know how to do it. sound so marvelous is because there was crap “When you are starting out, you are in the on those tracks. There was dirt, hiss, noise, and prime time to absorb—to discipline yourself. mistakes—that’s all part of rock ‘n’ roll. Make If you’re a slob, it’s not going to work for you. it perfect, and it ain’t going to give you feel. — Be ready to work 16 hours a day. Make friends, Barry Cleveland will. i. am and do it all for nothing. Get up off your ass, and put down the bong. Get your hands out DAVID SCHIFFMAN of your pants and head to the studio. I was Selected Credits: Audioslave, Rage Against the 12 years old when my mom took me to the Machine, System of a Down, The Mars Volta. studio, and I wanted to be there every single “Ninety-nine percent of great guitar tone is in day. That’s the love for it. All the stuff you need your fingers, so keep working on your tech- to learn, you really need to learn while you’re nique. And don’t let the guitar be the boss—dig young. Listen to the music—don’t just look into the guitar like you want to beat the crap at it. Nobody cares what the impedance is— out of it. There are too many players who are all they care about is when you can walk into too timid around their instruments, and when the room, set up a mic, turn the knobs, hit your playing is tentative, it’s reflected in your Record, and make everybody go, ‘Wow!’” — tone.” —Barry Cleveland Jeff Anderson

CHUCK AINLAY Thom Russo ANDY JOHNS Selected Credits: T-Bone Burnett, Dixie Chicks, Selected Credits: Led Zeppelin, Rolling Stones,

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Produce It! TOP PRODUCERS SHARE THEIR STUDIO SECRETS

Free, Eric Clapton. “I find—as an artist producing other people’s “When I was trying to record ‘When the Levee JOE BARRESI music—it’s most important to create a com- Breaks’ for Led Zeppelin IV, I’d stand next to Selected Credits: Kyuss, Queens of the Stone fortable atmosphere for the artist, help facilitate Bonham’s kit, and then I’d go in the control Age, Coheed and Cambria, Tool. their ideas, and help them realize their vision, room, and think, ‘This is not translating.’ We “Besides using close mics, always capture the as opposed to creating something in my own were at this farmhouse mansion, which had a ambience or the bigness of the band sound. image.” —Chris Jisi big hallway with stairs going up to landings. And never use conventional microphones—a So I pulled Bonham out of the room with the big thing. For Kyuss, we’d never put a Shure MATT BAYLES rest of the band, and I put him on his own in SM57 in front of a cabinet. It was always, ‘Let’s Selected Credits: Soundgarden, Pearl Jam, this hall. It hadn’t ever been done before. I used try this mic. What does that sound like?’ Even Mastodon, Minus the Bear. two fairly directional mics—Beyerdynamic when it came down to tube mics, it was always “I just try to get people to play their parts right, M160s—positioned about ten feet away. You the oddball tube mic no one else liked that we and make sure I get the best sounds with the get much past ten feet and the sound starts ended up using. Like [Kyuss and QOSA gui- gear they bring to the table. In the case of flamming. Then, I just compressed the hell out tarist] Josh Homme says, ‘Use the crappiest Mastodon, it’s Marshalls, not Mesas, for exam- of the mics, put on this Binson Echorec [ana- crap incorrectly, and you’ll get the best sounds ple. It’s their identity as a band, and my job is log delay unit] that Pagey [Jimmy Page] you’ve ever heard.’” —J. Bennett to make sure they play it right, and make it had—that was his idea. Now, it’s a classic drum sound good without having to alter it too sound, and now everybody uses room mics.” MESHELL much.” —Shane Mehling —Dean Kuipers NDEGEOCELLO KILLING CLICHES

s recording artists, we all want our music to have its own iden- tar solos from a singer’s point of view? Chances are the results Atity, one that establishes us apart from the millions of others will be lyrical. also making music. Given that fact, why is there a common com- This subject is a two-way street. Singers can learn tons of inven- plaint that too much music sounds the same these days? How can tive ways to sing from musical instruments. Frank Sinatra used to we avoid falling into this vicious trap? say he got his famous phrasing from horn players, fashioning his Many of us learned how to play our instruments by emulating vocal style to sound like a horn player. I see a trend forming here: musicians we were drawn to. There’s nothing wrong with that—it’s Everyone seems to be a frustrated horn player! called inspiration. Without inspiration, we have little if anything Often, drummers will fall into clichés as well. In the studio, when to express through our playing. But what happens when that inspi- a drummer is lacking in originality, he or she might play the same ration goes a wee bit over the line and turns into sheer emulation? drum fills over and over in practically every song. Bring this to your It may mean we have learned to play our instruments well, but that attention in the pre-production phase of the project. Ask yourself: we need to find our own identity as opposed to simply copying Are you consciously making adventurous choices and interesting what came before us. rhythmic decisions or are you simply doing what feels natural and For instance, let’s take the guitar. Many guitar players are adept comfortable to you? You might be surprised to find out what you at rattling off solos they have learned note for note from their heroes. are doing in the first place! Try to avoid styles that are indistinct, This practice can teach a musician quite a lot of important things redundant, and downright boring. Break down each song, work to at once such as technique, ear training, dynamics, and construc- not play out of habit, and focus on getting what serves the identity tion. Sadly, what will happen all too often is these learned solos of the song best. become relatively easy to play while the important task of com- We could discuss other instruments (as they all have shop worn posing something original can be a difficult one. How does one clichés), but I think you get the gist. So many times we will play on overcome this problem? automatic pilot when it might behoove us to search for the real I suggest such a player should begin closely studying other essence of each song we play and make the effort to capture the instruments besides the guitar. This may seem odd, but the other exact approach needed to make them all shine. We can’t get lazy instruments might very well help suggest musical ideas that are and rest on our laurels simply because we can play well—we need not guitar clichés. It sure seemed to work for Keith Richards when to dig a little deeper! he came up with the signature guitar riff to ‘Satisfaction’ by want- I encourage you to stay inspired and adventurous in your play- ing it to sound like a tenor sax! ing. Listen to your heart and play from it. It may be conveying pain, This technique can go further than just musical instruments joy, melancholy, humor—anything goes. Each and every song has when you apply the same type of study of vocalists. Find out an emotion, so find that emotion in the music and lyrics, then sim- what makes great singers so compelling and experience how ply play it from your own personal place. Nobody else can come they can influence your approach to the guitar. How about gui- from that exact place but you. —Scott Mathews

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TOP PRODUCERS SHARE THEIR STUDIO SECRETS Produce It!

WHAT’S YOUR PRODUCTION STYLE?

nless your name is Phil Spector—and it’s the ’60s—being a The artists will be looking to you to make all the carnage disappear, Uproducer doesn’t mean you get to command a bunch of lack- forge a new direction, and deliver a fabulous work—even if the eys to render the fruits of your genius. Most recording projects are entire DAW session just crashed and burned. You may be freaking collaborative endeavors among a producer, an artist, and an engi- out yourself, but, trust me, joining the chorus of screaming, cry- neer. The producer is simply the one responsible for ensuring the ing, and retching will only serve to push the emotional apple cart project gets done. That’s harder than it sounds. Bands disintegrate, over the edge of the Grand Canyon. Stop. Breath. Access. Strate- money runs out, songs crash and burn, equipment self-destructs, gize. Fix. And do all of that while looking as if you always had the engineers erase tracks, and so on. And, while you’re steering a proj- answer in hand. (Repeat as needed: “Serenity and strength. Seren- ect towards that final mix, you also get to be the artist’s therapist, ity and strength. Serenity and strength.”) cheerleader, and scapegoat. Lucky you! So, as producers typically must deal with a mammoth load of BE FUNNY creative baggage and “project management” activities, it’s impor- Nothing helps break the stress of creative work like moments of hilar- tant to establish a studio personality and work ethic that can get ity. You’re not defusing bombs, so every minute in the studio shouldn’t things done without driving the artists to mental disintegration, or be wrapped in extreme focus and uber-serious demeanors. If you’re giving yourself an ulcer the size of Pluto. Here are a few helpful per- not a comedian, don’t try to be (see the next paragraph), but you can sonality traits you may wish to consider popping into your personal at least try to lighten the mood when things start getting too tense. studio survival kit. Then, cross your fingers. Even subtle humor can help break the spell of angst that sometimes descends on creative projects. Of course, whatever you do to crack SURRENDER YOUR DICTATOR’S HAT a few smiles, do not make fun of the artist. (“Hey, look at Steve mak- Guess who’s the boss? It ain’t you! You have been hired by the ing these kissy faces when he leans into the microphone. Let’s all artist, and that often means giving the customer what he or she make the same faces back at him!”) Unless you want a quick end to wants. If a client doesn’t dig your suggestion to rearrange a rock the session, the Don Rickles vibe should be left to Mr. Rickles. ballad into electronica, don’t take it personally. You can suggest, harangue, and plead, but if the real boss doesn’t buy your idea, BE REAL FOR REAL just get on with making the best record you can. It’s the music business, so insincerity is ubiquitous. If you’re work- ing with smart artists—and pray that you are—they will see right BE NURTURING & WISE through any phoniness you splatter over the proceedings, and they It’s usually a mistake to push artists beyond their limitations. A frus- will not respond the way you want them to. In fact, they may lose trated, insecure, or utterly defeated musician seldom delivers respect for you at warp speeds. You know when you’re “putting it on,” impassioned performances. Instead, strive to assess the artist’s so don’t. Don’t pretend to be something you’re not just because you strengths and weaknesses, and then help them get their best stuff think emulating this or that behavior will make you a hipper, cooler, on tape. more revered producer. You are who you are. Find an honest path to artistic interaction. BE STUDIOUS Yes—do your homework! The client depends on you for cogent NEVER SURRENDER direction, so don’t “wing” the sessions. Study the material until you Do not release substandard work. Ever. If an artist has difficulty singing know it as well as the artist. Also, schedule enough preproduction on pitch, for example, either help them get the melody, or pull out an time to ensure that the material is well arranged and the musicians auto-tuning plug-in and fix the bum notes. You can’t send an apol- are well rehearsed. ogy with every CD: “Please excuse the crappy vocals. The artist is a horrible singer, and I was too bummed out to do my job.” Your pro- BE CALM duction work is judged on the tracks people hear—not feeble When the doo-doo hits the fan—and it will at some point—the pro- rationalizations about why you couldn’t make a professional-sound- ducer needs to be the one in the room who is a vessel of strength. ing recording. —Michael Molenda

tive—which is one of the most important things cycle Club, Tenacious D, A Perfect Circle. THOM RUSSO in recording. Because, face it, if you don’t have “Some artists are making the choice not to have Selected Credits: Audioslave, Babyface, Macy perspective, you don’t have anything.” —Jeff their CDs so hot—to keep more of the dynamic Gray, Serj Tanikian. Anderson range. I want the loudest part of my mixes to “As you work through a project, I don’t know match everything out there, but the quiet parts if you can necessarily keep fresh ears all the KEN ANDREWS should still have dynamics. I’m totally over hav- time, but I think that you can keep perspec- Selected Credits: Pete Yorn, Black Rebel Motor- ing the loudest disc.” —Jeff Anderson

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Produce It! TOP PRODUCERS SHARE THEIR STUDIO SECRETS

PAUL OROFINO VH-1, TNT. themselves. But this approach can also back- Selected Credits: Cradle of Filth, Blue Oyster “One of the most important elements in get- fire big time, so tread lightly.” —Rich Tozzoli Cult, Golden Earring, Zakk Wylde. ting a great voice recording is the headphone “I’ve never EQ’d a vocal channel on the way mix. It can’t be too loud, or the talent may per- JIM ROBERTS into the recorder—ever! During mixdown, it form too softly. And if it’s too soft, you can wear Selected Credits: John Entwistle, HBO, ESPN. depends on what I’m doing musically, and how singers out by making them work too hard to “To get a vocal track to sit better and be less the vocal has to sit within the mix. I’m a big hear it how they want it. It must be just right, ‘mono,’ bus the vocal to a stereo aux, insert a fan of subtractive EQing. If I’ve chosen the right so they can hear subtleties, mic placement, stereo delay on the aux, set the left side to 15ms mic during tracking, I usually have to use less other track elements, and vibe. It is a very psy- and the right side to 30ms, mix the delay in— EQ during the mix stage.” —Rich Tozzoli chological thing. Try it sometime. If you want to your taste —while leaving the original vocal a vocalist to ‘push it,’ bring down the voice in up in the middle. And if you blend it just right, BRIAN MACKEWICH the cans just before a take. They will naturally the vocal opens up without any delay/verb/cho- Selected Credits: Audio-post for HBO, ESPN, either move closer, or bring the volume up rus artifacts.” —Darren Rust ●

TOO MUCH INFORMATION

a world where bling is king, amassing more stuff why did this artist feel the part needed so much more support? than your neighbor is the surest path to cheap Well, I asked him. And he had no answer. No overdubs were tracked. celebrity. But do more tracks ensure more-better Happy ending. recordings? Layering sounds is a time-honored The “takeaway” on this point is that I was around to ask the crit- INtechnique in the studio, and scores of popular albums are stuffed ical question and demand a reasonable answer. It’s obvious the artist to near bursting with stacks upon stacks of MIDI and audio tracks. would not have forced such a conceptual confrontation on his own— The technique is so established, in fact, that many recording peeps he was too absorbed in the idea of laying down textures. As a result, wouldn’t even consider something as mad-crazy as releasing a track there was zero consideration of whether those overdubs would truly populated with just a single guitar, keyboard, or vocal. pump up the impact of the track, or serve to needlessly obscure the And yet, have you ever asked yourself whether an audio pro- kick-ass lick that was already front-and-center. duction really needs the equivalent of 13 diamond rings crammed Of course, enforcing productive debate is one of the producer’s onto ten stubby fingers? Are the gaudy gold baubles purchased at jobs, and it’s easier when the producer is an outside party who is a mall jewelry shop obscuring the elegant and beautiful glow of a solely evaluating the quality of the recording. But if you are the bona fide Tiffany design? decision maker, then you have to train yourself to ask and answer Metaphors aside, the test here is whether you’re actually think- any critical arrangement questions. ing about your sonic spectrum, or automatically defaulting to Here’s a tip: Try allowing at least a day where you don’t record methodologies you read about in magazines such as this one. Over- anything, or even listen to the tracks. Then, write down a few annoy- dubs, sweetening elements, textures, layers, doubles, counterpoint ing questions as if you were a complete outsider to the project: Are lines, and so on can absolutely add interest and vibe to a record- all the parts necessary? Does anything sound too thick, too muddy, ing. But that doesn’t mean these tasty morsels of aural candy are or too thin? After the vocal (or lead instrument), what is the main required ingredients of any musical production. Heck, that approach element of this work? Is that main element clearly audible and is not much different than believing the sential rock-guitar sound uncompromised by other elements in the mix? Be brutal. Regard is always a Les Paul through a cranked-up Marshall. nothing as precious. If you go into the process knowing that you A curious engineer/producer should constantly seek to discover want to keep certain parts, then the exercise is useless. The goal is which performances, tones, and arrangements bring a song to life. to surprise yourself with a more objective assessment of what’s in In this creative arena, there is no “default.” What worked on one front of you. song, might not be the best initiative to foist on another. And avoid- ing safe, conventional practices should not be a process limited to THE OLD QUALITY VS. QUANTITY BATTLE musical parts. It should also inform mic selection, mic placement, Back in the days when 4, 8, 16, or 24 tracks was all the real estate you signal processing, and every other aspect of life in the home studio. got, people still managed to create some pretty astounding records. But, heck, maybe you believe “Day Tripper” would have sounded bet- CHALLENGE YOUR NEED TO PROCREATE ter with 16 more guitar tracks, or that “Foxey Lady” would have been After I finished basic tracks on a recent studio project, the band’s much sexier with undulating layers of synth strings. The perception talented and inventive guitarist was desperate to overdub coun- of audio excellence is obviously subjective, but you should at least terpoint lines and noises under a rhythm riff that absolutely ruled determine a song’s basic needs before you blindly pile on guitar, per- all by itself. The tone was fat and sassy, the part was memorable cussion, keyboard, and vocal tracks for no other reason than habit. and propulsive, and the overall groove was Led Zeppelin good. So —Michael Molenda

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Recording Stunning Piano Tracks 3 Miking Strategies for Grand Pianos

rand pianos may seem like face, bright, ambient, warm, and so on—suc- OPEN THE HOOD formidable beasts to record, cess is typically measured by critical listening, A pretty basic option is opening the lid of the but they’re actually as tame mic selection, mic placement, and the artistry piano and positioning a mic near the treble as any other instrument. and dynamic sensitivity of the performer. Here strings, and a mic near the bass strings. If you Depending on the sound are some starting points for devising your own want more of a percussive midrange attack, Gyou’re going after—in your approach to miking a grand. choose a dynamic mic such as the Shure SM57 discmakers.com/RecGuide THE MUSICIAN’S GUIDE TO RECORDING 17 DM_track_keyboards.qxd 12/13/10 4:38 PM Page 18

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for each position, and place the mics about a it right in the middle of the soundboard and GO LONG foot from the piano strings. Move the mics until about a foot high. Face the mic directly at the If you want less of a percussive attack, you can you get the preferred balance of lows, mids, strings so that one side gets the attack of the move the mics completely away from the piano and highs. If I want a little more complexity in piano, and the other side picks up reflections soundboard. In this application—as the mics the midrange—as well as sweeter highs—I off the piano lid, as well as some reflections from are not positioned inside the piano—you can trade out the dynamics for large-diaphragm the recording environment itself. You can also experiment with opening or closing the top of condensers. position the mic sideways, allowing the piano’s the piano. Walk around the room and try to For a slightly odd sound, use a single con- bass, mid, and treble frequencies to become determine where you hear the sound you denser set to its figure-8 pattern, and position washed in a little more room ambience. want—which, for me, is typically a magnificent

5 TIPS FOR TRACKING UPRIGHTS

you really want a really powerful piano sound, forget pansy the most powerful sound came from the back of the piano. You’d grands, and go butch with an upright. Many uprights— think this would provide a muffled sound, but with the extraneous If particularly the taller ones with longer string lengths—yield body panels removed, the sound really cranks out the backside. killer recordings, so forget about tip-toeing around that Bösendor- The percussive sound from the hammers is still heard, and the fer grand. Here’s how to capture upright piano sounds with impact, exposed soundboard adds some depth, so our power is enhanced weight, and almost frightening presence. with tone. Miking from the back also diminishes noise from ped- als, creaky benches, and the player (grunts, sighs, sing-alongs, etc.). GET THAT THING IN TUNE I recommend using two mics on the backside, positioned to Sure, you can say that out-of-tune piano is part of your sound, but capture a balance between the high and low strings. Placing the to the vast majority of creatures with ears, out-of-tune piano is like mics does take some experimentation, and any small-diaphragm having your eyebrows plucked with tweezers. Spend a couple of condensers will do a great job. Place each mic about two or three hundred bucks to make sure the upright is in tune and working inches from the exposed soundboard, and pointing at the bass or properly a few days before recording. treble strings. It is possible to have phase-coherency issues with two mics, so if things start sounding weird or thin or muddy, sim- LOCATION. LOCATION. LOCATION. ply move the mics around until everything sounds full and Experiment with moving the instrument around the room to find wonderful. If you need more isolation, put a blanket on the wall the best sounding spot. Because uprights are designed to be up behind the piano, but I like the natural reverberation the bare wall against a wall, my experience has taught me that it is the best place provides. to record them—especially for a real up-front and present sound. For a final setup, I place a large-diaphragm condenser on a boom, and position it to be the same height as my ears, so I can TEAR THAT SUCKER DOWN record a track that’s essentially the same sound I hear from in front The main problem with uprights is the cramped size of their cases. of the piano while I play. This track is great for blending with the The small, resonant body of the piano is a nightmare of complex rear mics to construct a truly mammoth and articulate sound. acoustic reflections, and just sticking a mic inside the top proba- bly won’t cut it. You need to open the piano up so it can breathe! HIT IT! While it varies from instrument to instrument, most upright If you want a big piano sound, you’d better be prepared to bash the pianos come apart the same way. Open the hinged lid on the top. bejesus out of the keys. Sorry, this is old school, so there’s no MIDI Once the lid is open, you will probably see a pair of hinged pegs information you can edit to make the audio loud if your ladyfin- holding the front face of the piano together. Unlock the pegs and gers aren’t up to the task. Listen to the Beatles’ “Lady Madonna.” pull the front off. This exposes the hammers and strings, allowing Do you think Paul was tickling the ivories, or hitting it like each key for a greater degree of mic placement. If you really want to go hog had a picture of John Lennon scrimshawed into the ivory? wild, remove the plate that covers the bottom part of the strings As for tracking, piano puts out mucho harmonic content, and (right in front of the player’s knees). This will increase the piano’s there are peaks that meters just don’t see, but can slaughter your projection, and make the sound much clearer. DAW with evil distortion. Use your ears to listen carefully for any overload the VU meters might be missing. If you need to tame the MIC IT UP beast, facile use of compression can work wonders to stop the over- Now you are ready to explore some mic techniques. As we’re going loading, and it also can add additional punch to what should already for power, we’ll ditch any notion of ambient mics, and get real up be a piano sound that will detach your retinas if you’re not careful. close and personal. After rigorous experimentation, I discovered —Kent Carmical

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MORE MIKING CONCEPTS

ike any stringed instrument, a piano has a soundboard that bridge, around 1.5 to 2 feet high for optimum amplification. generates the sound, and a bridge that serves as the actual Next, do the low end placement. The low end of the main bridge L amplifier—it connects the “speaking length” [the part of the and bass bridge run parallel for about a foot and a half. Place the string that rings when played] to the soundboard. The ribs behind low-end mic about 1.5 feet above the strings, between (and in par- the soundboard support the instrument’s curve, or “down-bear- allel with) these two bridges. This allows the mid to low tenor notes, ing” integrity. This bow is about 7–10 degrees. and the best of the bass notes, to be picked up in the cardiod or The bridge is crucial—the amount of down-bearing, or the hyper-cardoid pattern at the bridges’ amplification points. This height of the top of the bridge compared to the soundboard—deter- placement not only gets a good stereo spread, it also allows for mines how well the instrument speaks in relation to the curve or some really fine interplay of harmonics and tone in the mid to lower rise in the soundboard. frequencies. All modern pianos (1900 and later) have two bridges. One runs For more “air,” move the mics just outside the piano’s rim, keep- the length of the piano from high treble to low tenor, while the other ing them the same height above the ground for consistency. Point is the bass bridge. The crossover of these two bridges usually hap- the treble mic at the same spot and aimed toward the player, with pens between notes A1 and G2. This is important, because this is the bass mic also aimed toward the player but at the cross-section where some of the magic of stereo mic placement occurs. where both bridges run together. If you aim both mics at the bridge, If you’re doing a close mic placement for an “in your face” record- the sound has more depth and a wider range of frequencies. Plac- ing, put the mic in hyper-cardioid or cardioid mode, and place it in ing the mics further gives less definition, but a wider frequency parallel with the tuning pins, between the first and second plate stress range because of the way the sound develops on the way to the rails. This way the cardiod pattern picks up the instrument’s high and mics. In all cases, though, the bridges hold the key to the piano’s alto notes. Position it about a foot behind the bridge and facing the overall sound. —Spencer Brewer, as told to Matt Harper

blend of the source piano sound and room CLOSE IT UP the lid, and affix PZM mics or mini mics. Just ambience. If I’m incorporating the piano into A fairly isolated and percussive sound can be make sure the piano owner won’t freak out a rather dense rock-type mix, I typically opt for gained if you toss the mics into the piano, close when you start taping mics to the inner sur- a single condenser mic, as a mono track can face of the lid. PZM mics will require a fair often be positioned within the mix a bit easier amount of tape, while minis might need just (via panning, EQ, and level) to deliver enough a thin strip to keep them from falling onto the impact against the competing sonic textures. soundboard. Where you place the mics is up I’ll also experiment with polar patterns. If to you. Now the fun begins. Getting a more I want an “audience perspective,” I may go with conventional sound is as easy as watching your a cardioid pattern that picks up more sound levels and laying down a clean track. But what from the front of the mic. If I want to capture if you want something unique? Then, experi- a more ambient, “piano room” sound, I’ll go ment with signal processing. You can hedge with an omni pattern. There’s no wrong way your bet by running one mic clean, and rout- to do this—just go with whatever option gets ing the other mic to a compressor, an overdrive you all tingly. unit, or any number of wacky effects. I’ve For a stereo piano track, position two con- fuzzed the piano sound, compressed it within denser mics at the spot where you heard the an inch of its life, added delay for unearthly best sound. You can point the mics away from note cascades, and phased, flanged, tremoloed, each other in a “Y” pattern, or towards each and ring modulated the sucker. Sometimes, I other in an “X” pattern. Again, there’s no right go with the full-on processed mess, and, other or wrong, so play around until you get what times, I’ll use the clean piano track as the foun- you’re looking for. Sonic tweakers can also dational sound, and then mix in a hint of the experiment with putting up two matched large- bizarro sound. I tend to like giving the listener diaphragm condensers, or using two different a sound they’re used to hearing, but if they lis- condensers, or mixing a large-diaphragm con- ten closer, they’ll discover a bounty of denser and a small-diaphragm condenser, or weirdness. In the end, you’ll need to do what- going with two small-diaphragm condensers. ever is appropriate for the song, but it sure is Trust your imagination and your ears. fun exploring a few uncharted territories. Bon voyage! —Craig Anderton

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PUMP UP THE VIBE WITH AMPS

ith most band recordings, the first and most complex order with clever placement of amps, mics, and baffles (see “Going to a of business is the drum setup. Engineers and producers Gobo” for the secret). What’s more, he insisted that every keyboard W usually get everybody else in the band situated before they in my rig go through its own amplifier. And we’re not talking keyboard get to the keyboards. By the time they do sort you out, they show you amps. We threw my Moog Rogue, Ensoniq TS-12, and Rhodes through one direct box and say, “just plug in here.” Usually, the assumption is vintage Silvertone, Supro, and Fender guitar amps. Not a textbook that your sound has been entirely crafted before it leaves your key- board, and the engineer’s job is to record it as transparently as possible. For many applications, going direct probably is the quickest, sim- plest, and best idea. But if you’re not satisfied with the direct tone—or are looking for more unique sounds—giving the good, old-fashioned amplifier a spin may be the way to go.

WHY AN AMP? The late Mike Klein, whose engineering credits included Ben Folds and G. Love and Special Sauce, was the engineer on one of my band’s early CDs, The Hello. Unlike any session I had done before, this was to be a live multitrack recording, with band members in the same room. It was remarkable how much track isolation he was able to get

The idea of re-amping is simple, but the flexibility it offers is fantastic. Your previously recorded track will come out of your mixer or audio interface at line level, but the guitar amp you’re sending the signal to would really rather see a much lower, gui- tar-level signal. The secret? Send your track out of your recorder by routing the track’s outputs to an aux send or other individual output, and run that signal into a re-amping device (such as the Radial X-Amp shown here). Then, mic the cabinet as you wish, dial in the tone you want on the amp, and send that signal through a mic preamp, or directly back into your recorder.

recommendation, and, at first, I was worried that there would- n’t be enough bass response or clarity. What Mike was going for was a sense of atmosphere, a sense of the moment, and a sense of “air” in the track. On a technical level, each amp yielded its own niche in the range of frequencies, which made it easier to fit each Freestanding Gobos or baffles can help you fit more players and amps keyboard into the final mix. The spirit of the session was to make it in a room than you might think. One way to do it is to set up your as live and analog sounding as possible. drummer at one end of the room. Then, face all amplifiers away from the drums. Do your best to convince your bass player to record RE-AMPING direct, or to put the bass cabinet in another room, as bass frequen- Re-amping is a technique to beef up or change the character of a pre- cies bleed through like crazy. Using the gobos, create an L-shaped viously recorded track. Perhaps you had a great performance, but the cubicle around your amp, isolating it from the drums and any amps sound left something to be desired. Assign the track to an output of directly across the room from you, while leaving your amp’s speaker your audio interface, then run that into an amplifier. Mic the cabinet, facing you as you play. Do the same for all other instrument ampli- record the resulting sound back onto a new track, and presto! You’ve fiers in the room, and you’ll be amazed at the isolation you’ll get for got a new, improved track to work with. each track—even with all musicians in the same room. While recording their album Counting Backwards, New Jersey rock

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How to Salvage band Little Dipper found the need to re- Putrid Piano Sounds amp their synth tracks to fit in with their heavy guitar tones. “We recorded a Korg MicroKorg direct, he piano is an incredibly com- Leave the last stereo aux channel alone. and the first thing keyboardist Carlos plex instrument. Capable of a What happens at this point, is that the Alonzo said was that the keys sounded a huge dynamic and frequency uncompressed stereo-aux track can provide little lifeless,” recalls Michael Nagy, the range, it can sometimes be the the attack of the piano sound as it was origi- band’s vocalist and guitarist. “It didn’t seem monster in the room during a nally recorded. The two compressed aux tracks like part of the mix, so we ran the track mixdown session. In these offer varying degrees of body and volume to back out to a Marshall Dual-Lead amp Tinstances, you’ll likely find yourself bringing the piano sound. As you balance the three aux with distortion. Putting it through the amp up the piano tracks, and then listening, tweak- tracks, you should be able to raise the average made the track sound like part of the ing, and listening some more. You’ll continue level of the piano in the mix, while still retain- music. It gave it a sense of distance, so it to tweak, and yet you won’t be able to get the ing the “natural” dynamics of the original piano no longer sounded like a hearing test.” piano to sit properly in the mix. Eventually, performance. It may take a few tries to discover you’ll want to tear your hair out, and run the best balance of natural piano, lightly com- AMP SIMULATORS screaming from the studio—actions that will pressed piano, and aggressively compressed If you want to work in the virtual world, not inspire confidence in your abilities from piano that delivers enough volume and impact, there’s a wealth of sonic flexibility with your band mates or clients. but you should look like a genius almost as software amp simulators. Many digital Luckily, there are some techniques that can soon as you start moving the faders. Yeah— workstations include amp-simulator save you from scalp damage and a ruined rep- this trick can work that good! plug-ins, and there are third-party pack- utation. Just try out a few of these tips, and in ages such as Line 6 Amp Farm, Native no time you’ll have that piano singing right in EXPANSION Instruments Guitar Rig, and IK Multime- the sweet spot. There are those times when what seemed like a dia AmpliTube. These simulators offer so good idea during the tracking session turns out many combinations of speaker cabinets, PARALLEL to be a big problem at the mix. I’m talking about mics, mic placements, and effects, that COMPRESSION over-compressing the piano during recording. they can easily induce option anxiety. But If your mix is fairly dense—say, with guitars If you fall victim to this miscue, and find that it never hurts to start mixing things up and vocals taking up the majority of the sonic your piano track lacks the dynamic range you and hearing what happens. Some simu- spectrum—you may be struggling to hear the want, you can simply “reverse” the compression lators give you a model of a familiar amp piano part. But using the parallel compression somewhat by applying an expander. to start with. In fact, just about every amp technique can get the level of the piano up, Start with the same bus arrangement we mentioned here has been modeled by without resorting to compression settings that used in the parallel compression technique, one or more companies, and you can might cause the piano tracks to sound overly but, instead of compressors, set up a pair of construct a virtual rig, choosing how squished. I have used this technique most often aux tracks with an expander plug-in assigned many and what size speakers the “cabi- on drums and percussion, but it applies equally to one of them. Set the expansion ratio to 1:2, net” has, what effects “pedals” are feeding to the piano—which is, after all, a percussion with the threshold fairly high, so that the gain the amp, even what kind of microphone instrument at heart. reduction is pulling some of the signal down is in front of the amp. Start by assigning the stereo piano track to to create greater dynamic range. Vary the hold Whether you choose a simple or more bus 1 and bus 2 in your DAW. Next, open up and decay times so that the expander isn’t stay- involved route, the most important thing three stereo auxiliary tracks, using bus 1/2 as ing open (or “off”) too long. is the music itself. Work with what you the inputs to those aux tracks. Route all three Now, mix the expanded aux track in with have on hand or what you can easily afford aux outputs to the stereo bus. the non-expanded aux track until the balance to make sounds that inspire you. Try out Now, insert a compressor plug-in on the between the two sounds natural, and the some of the ideas we’ve mentioned here, first stereo aux track, and dial in a compres- piano’s dynamics are as wide open as you and experiment with everything you can sion ratio of 6:1 or greater, and with the desire. This technique can be very effective in get your hands on. Spending a little time threshold low enough that you are getting 6dB blowing the minds of any cynics who were bet- like this could yield a sound you never to 8dB of compression. Set the gain to +6dB. ting the piano track in question would sound thought of before. And how cool would On the second stereo aux channel, set up a squashed and awful forever. that be? —Tom Brislin different compressor plug-in at a 2:1 or 3:1 ratio. Set a slightly higher threshold, so that you are DISTORTION only getting around 2dB of compression. A subtle amount of distortion mixed in with the

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original track can give the sound of a piano volume level is actually pretty low. the fact I had EQ’d the life out of the piano some real ear-catching vibe. I personally like sound. And even though this treatment was Bomb Factory’s SansAmp plug-in for this tech- MODULATION very subtle, any time I muted the chorus plug- nique, because you have individual control over I recently mixed a project where, on several in, the mix just didn’t sound right at all—proof how much distortion is applied to each major songs, the piano was recorded with the drums that little things can make a big difference. frequency band. However, this trick will work playing in the same room. The intention was with any guitar-amp emulation plug-in, dis- to re-record the piano tracks all by themselves, TAPE EMULATION tortion or overdrive effects, or even guitar but we decided to keep the original perform- One of my favorite tools for adding vibe and stompboxes. ances because they really fit the feel of the interest to vocals and instruments is the This is another technique that works best songs. Unfortunately, there was a substantial Phoenix suite of TDM, tape-emulation plug- if you “mult” the piano signal, and only apply amount of drum leakage into the piano tracks, ins by Crane Song. (Similar tape-emulation the amp simulation or distortion to the mult, and bringing up the piano in the mix brought plug-ins can do the trick, as well.) Phoenix not leaving the original piano track clean and nat- up the drums, as well. only simulates the coloration and natural com- ural. For the distorted track, I typically hit the Happily, the piano parts were not in a low pression of analog tape, it also replicates how mids heaviest, and go light on the low and high register, so I was able to EQ a majority of the tape interacts with the record and playback frequencies. It’s also fun messing around with boominess of the drums out of the piano track. electronics. You get three frequency-response different amp emulations (Fender, Marshall, The downside was that this move left the piano buttons—Gold (flat), Sapphire (bright), and Vox, Mesa/Boogie, etc.), different amounts of sounding flat and lifeless. Opal (warm)—and a big knob that increases drive, different tone settings, and even differ- To give the now-neutered piano some of its or decreases the emulation effect. That’s it. ent speaker-cabinet simulations (if you’re using sparkle back, I inserted a chorus plug-in on To transform a limp piano track into some- an amp plug-in, rather than a pure distortion the piano track, post EQ. I selected a sine wave, thing marvelous, I’ll typically position the big or overdrive effect). The idea is to add some set the modulation rate to about 0.4Hz, and knob between -6dB and -3dB—which is almost sizzle and impact to the piano without mak- dialed in a very low amount of feedback. As I full emulation. My frequency-response option ing it sound too muddy or indistinct. listened to the piano in the mix, I slowly will depend on the sound of the original piano When you blend the clean and distorted brought up the wet/dry mix percentage from track, and whether it needs to be brighter or piano tracks together, go for a sound that “owns” 0 percent, until I liked the result. A 20-percent warmer to fit into the overall mix. I have yet to its space in the mix without your having to push blend of chorus effect to source sound did the find a sound that this plug-in can’t help. For up the faders too much. The piano should com- trick. The resulting effect gave the piano a bit less-than-stellar piano tracks, it’s one heck of mand attention because of its tone—even if its of movement and impact that nicely disguised a life preserver. —Tom Luekens

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Setting Keyboard Levels

nyone with a cable TV box has juggled two volume controls. Set the cable too low, crank the XLR in on mixer TV, and you’ll hear too much background noise. With the XLR output cable too high, you can get dis- tortionA or a honky sound even with the TV volume low. Even a basic recording setup makes you manage multiple volumes, too. Here’s a Golden Mean approach for setting them. YOUR KEYBOARD’S 1/4" input VOLUME CONTROL An old rule says to leave it at maximum, then set levels for recording on your mixer or audio interface. That’s a good place to start, but on some keyboards, full throttle might make hiss audible while almost-full sounds clean. Call up the sound you’ll record with, but don’t play. Move the volume knob or slider slowly from low to high, and listen carefully for background noise. If an increase happens, most likely towards the top of the range, back off until it goes away. Chances are, any making up you’ll do using the gain control of the gear that’s lis- You’ve probably used a direct box to run your keyboards into a stage snake, but what about tening won’t add as much noise. If it does, the recording? “If your keyboard is next to your recording device, a direct box is not critical,” says process is easy enough to undo. Radial’s Peter Janis. “If further away, put a direct box near your keyboard and make the long cable Don’t forget MIDI volume. Make sure a run an XLR for the best quality, lowest-noise signal.” pedal, other controller, or even the sound pro- gram itself isn’t keeping it below maximum physical or onscreen mixer’s meter, but not the a comfortable listening level. (127) without you knowing about it. Also, some red. With most keyboards, you’ll turn up the synths’ edit menus have an output parameter trim very little, or not at all, unless something SOFT SYNTH SECRETS that works in the digital domain—another else in the chain is quieting the signal first. Many soft synths have their own volume con- option if you need hotter levels without added This is why many audio interfaces and com- trol in the plug-in window, and the rules are noise. pact mixers have trim knobs only on their mic different for soft synths. Push the soft synth’s inputs—line-level ins are pre-optimized for volume too high, and, often, you’ll overload its FADERS AND things such as keyboards. If your keys are too mixer channel in the host program, distorting GAIN KNOBS quiet no matter what, go for the extra gain of the sound. Try this advice from Orlando Rashid, Next come the inputs of your audio interface, a mic channel. Otherwise, it’s one less volume recording engineer on Jamie Foxx’s Unpre- compact mixer, or stand-alone recorder. Either control to worry about. At this point, the chan- dictable: “Insert a compressor plug-in on the you’re in a channel (or two) with an input gain nel fader may or may not have any effect on audio or instrument channel where the soft knob—also called trim or sensitivity, which the level that’ll get recorded, and it may not synth lives. Set it so it’s not really compressing, are not the same as faders on the device or in have any visible effect on the meter, depend- or just barely hitting. Keep the soft synth’s vol- your DAW’s mixer window—or you’re not. ing on your setup. If not, don’t be afraid to lower ume on the low side, and use the compressor’s In the first case, leave the channel fader at your keyboard’s volume a bit more if it’s still output or make-up gain control to make it “unity”—usually indicated by a zero located too hot. louder.” most of the way up the fader’s travel range, and What sounds too loud or too soft through Some DAWs also have simple “trim” plug- start with the trim all the way down. Play as loud your listening system may be the perfect level ins, useful for adjusting software instruments as you mean to and adjust the gain until your for the recorder, so use only your headphone, that don’t have their own volume. —Stephen loudest peaks hit the “yellow” zone on your “monitor out,” or “control room” volume to get Fortner ●

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40 Paths to Recording Great Guitar Tones By Michael Molenda Illustration By Candace Mammarella

hances are, your lifelong love unimaginative, while advocates defend its Off-axis. Miking guitar amps off-axis affair with the guitar began enduring value as a fundamental sonic became very popular soon after with a recording. Perhaps you resource. Truth is, the sound of the dead-on Michael Jackson scored his first batch heard Jimi Hendrix or T-Bone mic position is pretty darned punchy. In a best- of funk/rock hits in the 1980s. The Walker or Les Paul on the case scenario of a good amp and guitar 3story may be little more than a myth, but the radio, felt the goosebumps of combination, the impact of pick or finger steely, shimmering snap of the rhythm guitars Cimpending devotion, and went on a mad against string can be reproduced with stun- on those tunes was allegedly produced by engi- search for any records by these inspirational ning clarity. Because the mic is pointed directly neer Bruce Swedien placing condenser mics artists. Unlike live performances, recordings at the speaker cone from a distance of one or at off angles from the speaker cabinets. Fact or are tangible documents that can be studied, two inches, the fundamental timbre of the fiction, one thing is certain: an off-axis posi- absorbed, and passed from one excited listener amp and guitar is not diffused by room ambi- tion does produce glistening highs and tight, to another. Recordings ensure that the music ence and signal reflections. In other words, funky mids. of great artists—as manifest by their own you get a fairly organic and honest picture of To capture this tone, position a condenser hands, hearts, and heads—will not fade into the guitar sound. mic approximately 45 degrees off axis from the the ether, so any guitarist who wants his or her To achieve the classic dead-on position, front of the speaker cabinet. The mic should legacy to extend beyond the ravages of mem- simply point a dynamic microphone, such as be set to a cardioid pattern and placed about ory had better get in the studio. a Shure SM57, at the center of your amp’s eight to twelve inches away from the cabinet. But recording great and/or musically appro- speaker cone. (If you use a cabinet with mul- You can usually add shimmer by moving the priate guitar tones is not always an easy tiple speakers, find the best-sounding speaker.) mic slightly above the top edge of the speaker, task—even if you’re using pre-tweaked digital- A good rule of thumb is to place the mic so that and add body by placing the mic directly in the modeling plug-ins or other software tools. its windscreen is gently brushing the cabinet’s line of fire. Obviously, this technique works Ultimately, tracking kick-ass guitar sounds takes grillecloth. No grillecloth? No problem. Place best when recording clean or slightly over- a little technical knowledge, a lot of practice, the mic approximately two inches from the driven tones that can benefit from accentuated good ears, and a close personal relationship middle of the speaker cone. For tonal varia- highs and upper partial harmonics. with the mysteries of luck. Of course, we can’t tion, try moving the mic slightly up, down, left, Close/Far. If you’re somewhat nerv- do anything about your ears or luck, but we can and right. If you hear a divine tone, freeze. It’s ous about capturing a full-bodied help you improve your home-recording chops. time to record. guitar tone with one mic, you can The following tips for crafting fab electric- A little bit o’ room. Sometimes a dry, always hedge your bet by employing guitar tones should be considered as tone punchy guitar track can be lame and 4two. In a classic close/far position, a dynamic templates or starting points. Don’t be afraid to unimaginative. To animate the basic mic is placed close to the speaker to record a experiment or find your own way. After all, there’s dead-on position, move the dynamic dry source sound, while a condenser mic is set no “right” or “wrong” in the recording studio, 2microphone back approximately ten inches up about ten feet from the front of the amp to only what sounds good to you. from the speaker. This new position allows capture room ambience. The condenser should room reflections to mix with the source be in a cardioid pattern, raised approximately AMPLIFIER MIKING sound—the guitar amp—and produce a more six feet high, and pointed towards the middle TECHNIQUES dimensional timbre. Find a mic-to-amp dis- of the speaker cabinet. Dead-on. It’s rather funny that some- tance where the natural ambience is just Front and back. To create tonal varia- thing so conventional could become audible enough to spread out the guitar sound tion without resorting to room controversial, but the time-honored without smearing the guitar’s tone and artic- positions that may produce too much “mic against the grille” technique is ulation. If you find the right “sweet spot,” ambience, simply mic the front and 1sometimes hotly debated. Detractors con- adding reverb to the track during mixdown will 5back of the amp. It helps if the cabinet is open- demn the position as lame, lazy, and probably be unnecessary. backed, although you can track some pretty

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wacky sounds—mostly low-end resonances— An off-axis mic position can by miking closed-back cabinets. produce shimmering tones. You can use two dynamic or two condenser Here, a Neumann U87 is mics for this application, or even one of each. placed at a 45-degree angle (The condensers should be set to their cardioid to the speaker of a vintage patterns.) Start by positioning each mic about Dickerson amp. eight inches from the cabinet, with one mic slightly left of center and the other veering off to the right. Depending on where you place the mics, however, some degree of phase can- cellation may result. But, hey, if an audio dysfunction produces a slick tone, go with it. It’s often best to put more faith in your ears and less faith in “proper” recording techniques. Boom and snap.With a cabinet loaded with at least two speakers, you can achieve even wider tonal dispersion by placing a condenser mic on one Un-electric electric. This old trick still Take a bath. If you’re really into 6speaker and a dynamic mic on another. The works great. Have the guitarist set up “enhancing” (or, should I say, cre- goal is to use the dynamic mic for body and the amp in another room and mic it atively destroying) your guitar punch, and the condenser for shimmer. A large- however you wish. Now, place the tones with wacky reflections, diaphragm dynamic such as a Sennheiser MD 9artist in a quiet space where sound leakage 12don’t underestimate the value of the bathroom. 421 or an Electro-Voice RE20 works best for from the blaring amp is minimal. (Use a long Place your amp in the empty bathtub or shower, this application as they “hear” a little more low guitar cable or a wireless system to get the per- or perch it atop your toilet. For mic positions, end than a small-diaphragm mic. You’re going former far enough away from the amp.) It’s best drop a condenser in the dry tub with the amp, for a dry timbre that will highlight the high/low if the guitarist sits down while playing, because plop a PZM in the sink, or hang a dynamic from effect, so place each mic as close to its speaker you’ll need to position a condenser mic eight the shower curtain rod. Seek out ugly reflec- as possible. (More distant mic positions tend inches from the guitar neck. Move the mic tions everywhere and get them on tape. to blur the effect because room ambience leaks around until you capture a tight, skankin’ snap into both mics and mixes the frequencies into and you’re almost there. You can record the TEXTURAL MADNESS an aural stew.) The condenser should be set to “acoustic” and miked amp sounds on separate The basic double. Doubling uni- cardioid to minimize leakage. tracks if you plan to do stereo tricks in the mix, son parts to produce a denser Omni. Try a new polar pattern on that or simply submix the two tones to taste on a sound has been an audio-pro- condenser mic. Assuming that you’re single monaural track. Either way, you’ve cap- duction staple since the ’60s recording in a relatively square or rec- tured a dry, steely timbre that can be mixed in 13(singers have been doubling their lead vocals tangular room, place your amp one or with the roaring amp tone to increase sonic for ages). Once you’ve laid down a great part, 7two feet away from a wall. Now, set the con- articulation and midrange sparkle. simply record a near-identical performance denser to its omnidirectional pattern (you need Out of bounds. For an almost onto another track. Conceptually, doubling a multi-pattern mic for this application), and unusable rumble and roar, drop works best for rhythm parts, but solos can be position the mic as near the room’s center point a boundary or PZM mic directly beefed up too. as possible. Because the omni pattern will pick on top of your amp. All of the Non-identical twins. On the up sound from all directions, you should hear 10amp rattles and speaker resonances will be other hand, if you’re doubling an expansive ambient guitar sound reminis- brutally documented, but for “end-of-the- parts, why not track two entirely cent of the early U2 records. Of course, the size world” solos, it’s hard to beat the terrifying different tones? Play one part, of your room will determine just how expan- noise this technique produces. 14say, through a Marshall and a Les Paul, and sive the sound is. Feel free to move the mic Window dressing. Signal reflec- perform the double using a Strat and a Vox around until you hear the hippest combina- tions can be your friends— AC30. The combinations are as endless as tion of guitar tone and room sound. especially if you’re looking for the gear you can get your hands on. Audience perspective. Set up an amp bizarre tones. To capture flutter Sneaky EBow. To punch up at the back wall of the studio, and posi- 11echoes or slapback, point your amp directly at chord progressions—this works tion two condenser mics ten- to a window or sliding glass door. Position a con- especially well for kicking in pop 15-feet away. Point the mics at either denser mic (set to its cardioid pattern) one or choruses—double the rhythm 8side of the amp. The idea is to simulate what two inches from the glass. Move the mic around 15tracks, and then add an EBow track that mir- a listener might hear when sitting out in the until you find the best “unsweet” spot that rors the chord progression. For example, if the audience of a small club. delivers ragged, springy timbres. chorus is Em, G, C, A, the EBow would play sus-

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The close/far position combines sounds. Here’s the deal: Find a blissfully awful dry and ambient sounds to get the fuzzbox or overdrive pedal or plug-in, and use best of both worlds. In this exam- the buzz bomb to double one or more of your ple, a Shure SM57 covers the close well-recorded parts. position on a Fender Tremolux, Direct. Amp tones and stomp- while a RØDE Classic Tube mic goes boxes and plug-ins rule, but long. don’t overlook the value of a direct guitar sound. Sometimes 21a simple, harmonically uncomplicated timbre is just what a track needs. Blend-ola. Obviously, digi- tal-modeling software provides quick, relatively no fuss, and fabulous-sounding taining, single-note lines of E, G, C, A. timbres and imply a sense of sonic magnitude. 22options for tracking guitars. You simply plug- Wet/dry split. You don’t have to Townshend. Speaking of mas- in and play, and you can even monitor save effects for the mix, where sive guitar sounds, one of the everything over headphones, crafting brutally many recordists simply add a compelling—and, some would loud emulations of stacked amps without wor- stereo reverb or chorus to a gui- say, “classy”—elements of the rying about waking the neighbors, destroying 16tar track and think they’ve added some 18Who’s vibrant tumult were the acoustic guitars your hearing (unless those headphones are dimension. Ha! That ain’t real stereo, that’s that Pete Townshend would layer under his cranked—not a good idea), or shaking the enhanced mono. In a dense mix, most stereo electric parts. Again, we’re talking about uti- rafters. Sometimes, however, it’s a good move effects are so subtle that they might as well be lizing disparate timbres to construct a guitar to add some actual air-moving-through-a- monaural—the listener seldom perceives the sound with added dimension. speaker-cone attack to simulated amp textures. effect as having different acoustic elements on After you’ve tracked your electric parts, For this, you still don’t need to wheel big amps the right and left sides of the soundscape. So, determine whether it makes sense to layer sev- into your home studio and risk eviction for if you desire a processed guitar sound that really eral monaural acoustic tracks or record a single noise abuse. Just get a small, very low-wattage kicks some stereo butt, try tossing the effect to stereo or mono track. If the soundscape is very amp, use one of the close-miking techniques the opposite side of the dry source sound. dense, keep in mind that a fat acoustic tone outlined in the miking section of this article, To accomplish this, set up your desired will probably muddy up the track. I recom- and track away. Even if you want ballsy tones, recording path. Then route the signal to an mend recording the acoustic parts brighter a five-watt (or less) amp will give you the roar effects processor. The source sound (your gui- than you may feel comfortable with to ensure without the high volume that annoys house- tar) and the effects should be recorded on that they can cut through. mates and neighbors. Then, just blend the separate tracks. When it’s mix time, simply pan Performance-wise, unison parts are a safe natural amp sound with the digitally modeled the two tracks hard stereo. You now have a dry bet, but it may also be appropriate to try dif- sound to taste. You should be able to craft a source sound that will appear to morph into ferent chord inversions and even mess with totally cool tone with more attack and impact whatever effect you’ve chosen. And what you dynamics a bit. If the electric parts drop back and airiness than what you can typically derive hear on the left speaker is way different from in intensity, that may be a cue for the acoustic from a modeled amp sound alone. what you hear on the right. guitars to rage. Experimenting with perform- Guitar Armada. Sometimes it ance dynamics, as well as timbres, is another DYNAMICS pays to get a little megalomaniac way to animate guitar tracks. PROCESSING with your guitar sounds. A dou- Now you hear it,now you don’t. Pump it up. Compression bled part simply may not be Audio productions don’t have to can help your guitar tracks 17dense enough to produce the desired sense of be symmetrical. For example, it jump right out of the mix and, awe. In these cases, I recommend layering as may make musical sense for a best of all, appear as if they many unison guitar parts as you have the tracks 19particularly loud, rude, or beautiful guitar tim- 23were recorded louder than a jet turbine at full to handle. Triple and quadruple the part—heck, bre to make one, well-placed appearance in throttle. Of course, you don’t have to go ballis- record six of ’em. You don’t need a license and your track. Keep your eyes open for opportuni- tic right off the bat. Start out with a punchy, there’s no limit. However, to ensure that the ties to delight, surprise, and wake up the listener. yet subtle, setting of a 2:1 ratio with a thresh- tones don’t disintegrate into mush, take care Distorto! After sweating over old of -5dB. If your box has attack and release to mix and match your guitar sounds. Com- how to record transcendent controls, both should be set to “fast.” bine big, raunchy chords with clean, wimpy guitar sounds, you should Squeeze play. Beefier, more ones. Also, try different chord inversions. Don’t give your “quality meter” a aggressive dynamics can be just record four tracks of yourself banging out 20short vacation and get gruesome. In other achieved by setting the ratio an A barre chord. The idea is to spread out the words, you don’t have to layer guitars with good 24 between 2:1 and 4:1, and discmakers.com/RecGuide THE MUSICIAN’S GUIDE TO RECORDING 27 DM_track_40paths.qxd 12/13/10 3:18 PM Page 28

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increasing the threshold to -10dB. Keep a fast Here’s the dead-on mic position attack, but set the release a little longer to keep with a Shure SM57 pointed signal decays more up front. directly at the speaker cone of The Hulk. Typically, as you a Vox AC15 1x12 combo. employ more compression, low-level signals such as bass and the attack and release should be whippet- tracks are complete may be a waste of time and resonances become more quick. As soon as your pick or fingers leave the creative energy. 25audible. This is a boon if you’re losing bass strings, the gate should clamp down with Low blows. The typical home articulation in a crowded mix. Now, if you com- extreme prejudice. studio is not an ideal acoustic press the signal to the point where the highs, Clean house. Unless you’re a environment. Traffic noise mids, and lows squash together into a chunky lo-fi type who adores happy may leak through windows, mass, you’ll have one heck of an aural weapon. little noises, it’s not usually a 30furnaces can come to life with rumbles and This thick, dark timbre can be used to add vis- good idea to sully great gui- sighs, and a housemate’s trip to the kitchen ceral impact to a track without letting the mids 28tar tracks with audible hiss, buzzes, accidental can trigger an orchestra of thumps, bumps, and highs get so out of hand that the sound skanks, feedback, and other gremlins. You can and creaks. And, of course, all of these unin- appears brittle or clangy. To turn your guitar use a noise gate plug-in to keep all of those vited guest sounds can leak into your mics into the Marvel Comics’ antihero, set your com- naughty bits out of the mix—just make sure during a take. High-end and midrange sounds pression ratio at about 8:1 with a threshold of you don’t set the gate too aggressively, as that are problematic because you can’t diminish -15dB. Set the attack to fast and the release so might terminate your phrasing by knocking them with EQ adjustments without also com- long that The Hulk rages almost forever. out soft intros and releases. While not a promising the frequency spectrum critical to Classic spit. One of the lov- “dynamics processor,” you can also negate the guitar. But if a low-frequency sound is mak- able things about some old noise by simply erasing any sounds that aren’t ing your studio life miserable, you can usually rock records is that the the sounds you want listeners to hear. It’s amaz- cut it out and still record a fine guitar track. A unprecedented volume of the ing how many recordists track guitars and never 5dB or 10dB cut at 80Hz or 100Hz should do 26guitar amps just flipped out the mics (and, do a clean-up sweep, and then lose their minds the trick. probably, the engineers), and you hear these over annoying sonic glitches they can’t seem Bulk up. If you’re confronted by wonderful clipping noises when the players to find. The culprit for such anxiety is often a limp guitar tone, you should crank it up. For years, that spitty crackle was messy guitar tracks, so be Mr. or Ms. Clean, be able to beef it up somewhat rock ’n’ roll to me. If you feel the same way, you and buff those suckers until all you hear is the by boosting the low mids. Zero can revisit the past by hammering your guitar glory, and not the grime. 31in on the 250Hz to 750Hz range and boost the tracks with a 10:1 ratio at a threshold of at least appropriate frequency anywhere from 5dB to -20dB. Loosen up the attack a little and keep EQ TWEAKS 15dB. the release very slow. A tube compressor—or Flat. More times than most Instant weight loss. A thick or a tube-compressor plug-in—is best for this recordists care to admit, the flabby tone can cause a guitar operation, because you want the signal to fry best EQ tweak is no EQ tweak. to sound muddy and indis- just a tad. Organic guitar sounds— tinct—especially within the The chopper. You can keep 29meaning the natural sound of the guitar and 32context of a dense mix. But don’t start boosting staccato rhythms absolutely amp as documented by the microphone—can mids and highs in an attempt to get the guitar pristine and lively by setting be very cool if you give them a chance. It’s also to stand out. The low-end flab will still be audi- a noise gate to abruptly shut a good thing to avoid obsessing over minute ble because you haven’t attacked the frequency 27down the audio between strums. No hiss, no EQ adjustments while you’re tracking an instru- that is causing the problem, and the high-end hum, no finger noises—just the “snap, snap, ment. You see, the sound of the guitar (or vocal, boosts will probably just thin out the sound and snap” of your rhythmic majesty. The thresh- or snare, and so on) must ultimately co-exist add noise. Keep in mind that cutting frequen- old setting on the gate should be tight enough with all the other sounds in the mix, so dialing cies is often a cleaner, more sonically pleasing to silence all sound when you’re not playing, in individual refinements before all the other way to add presence and clarity. So, to eradicate

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40 PATHS TO RECORDING GREAT GUITAR TONES TrackIt!

that gut, try cutting anywhere between 100Hz and 500Hz by 10dB or more.

De-Fang. Brutally sharp SUZI ROKS midrange frequencies may be great if you want your guitar to bust out of a live stage mix, 33but they can deliver an unpleasant listening experience for anyone hearing your track via conventional ear buds. Taking a bit of the bite out of your guitar sound just might put you on the fast track for humanitarian awards. Seek out those deadly mids in the 1kHz to 5kHz range, and neuter them by at least 3dB. Punch me. On the other hand, we are guitarists! Healthy mid tones are prac- tically our birthright. To add 34a dash of macho punch, boost anywhere between 500Hz and 3kHz by approximately 6dB. The King’s cut. An old friend once did a session with an idiosyncratic singer/song- writer who insisted that any 35studio equipment labeled as “digital” be masked off so that he couldn’t see the dreaded “D” word. Then, the artist turned every high- EQ knob on the mixing console to its full cut position. “Sun Records couldn’t record 12kHz,” he said. The guy had a point. If you’re looking for a warmer sound, it doesn’t hurt to cut 12kHz or 10kHz by a few dB to mitigate the sheen of modern recording technology. Razzle-dazzle. If your acoustic and clean electric tracks need a little extra sparkle, boost 10kHz by 6dB 36or so. This can be a dangerous tweak, however, because boosting higher frequencies can intro- Hourglass figure. Here’s the complete mix and determine if it needs duce audible hiss along with the desired another multiple EQ tweak. more highs, mids, or lows. Do not make any shimmer. Your tonal adjustments should strike This one is perfect for clear- tweaks on the original track. Instead, brutally an acceptable balance between glow and gunk. ing sonic space for midrange EQ the clone track in the range that is lacking. Faux spectral enhancer. If 39elements such as vocals and horns, while still During mixdown, simply increase the level of your guitar needs some added allowing the guitar to remain present. First, the clone track until the guitar sounds dimension and luster, you can boost the low end of the guitar—anywhere absolutely marvelous. simulate the sparkle of a spec- between 100Hz and 250Hz—by 6dB. Then cut With this double-track EQ trick, your 37tral enhancer by boosting 12kHz by 10dB. Take the mid frequencies in the vocal range, say original sound can remain full and robust, care, of course, not to add any hiss. between 1kHz and 5kHz, by 10dB. Finally, add while the clone can be used to sneak in any Laser beam. For a totally some snap by boosting the high end above frequency information that is needed. Had obnoxious tone that can cut 10kHz or 12kHz by 10dB. you, for example, started messing with the through any soundscape, cut Double trouble. For a real original track if it needed more highs, you 80Hz by 5dB and 250Hz to slap in the face, copy your gui- might have destroyed what you dug about 38500Hz by 10dB, and boost 7kHz by 10dB. This tar to an available track, so the original tone. What usually happens next tweak works best on massively overdriven that a clone exists of the orig- is that you keep chasing your tail, making tones—the ruder, the better. 40inal source sound. EQ the original guitar to EQ tweaks upon tweaks, until you lose crit- taste. Now, listen to that tone in the context of ical perspective. ●

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Capturing Beautiful Acoustic Guitar Sounds By Michael Molenda Illustration By Nathan Ota

ubjecting the mysteries of beauty make a silk purse out of a sow’s ear” is gospel. to cold, bloodless scrutiny often Your ultimate success often rests on the qual- invites disillusionment. It’s the ity of the source sound. When faced with a thin, “Every rose has its thorns” dilemma. buzzy acoustic guitar, for example, the most Take your favorite acoustic guitar, expensive microphones, preamps, and signal for example. Played in the open air, processors can only endeavor to record a bad Sit can caress your ears with a beatific timbre that sound exceptionally well. This unassailable inspires songs, melodies, and even inner peace. fact of studio life makes our first tip an easy But point a microphone at your old friend, and one: If your acoustic guitar sounds horrible, strange things can happen. don’t record it. (That is, unless you want a hor- The combination of mic coloration, signal rible tone.) You’ll do yourself a tremendous chain anomalies, and room acoustics can favor by renting or borrowing a fine instru- transform your flat-top’s once-shimmering ment. highs into piercing clangs that sound like the But even if you own an exceptional acoustic, rattling chains of Marley’s ghost. In addition, you should take pains to ensure that it sounds the guitar’s inviting warmth can degenerate its best whenever it does its thing in front of a into an aggressive, booming low end, and fret microphone. Change strings often—especially buzzes and string squeaks can wail like a World before critical sessions—and have the frets, War II Stuka blitzkrieg. Of course, you can neck, and intonation checked regularly. Don’t always get lucky and capture a wonderful tone Fig. 1—Liven up a “dead” room by positioning let obnoxious fret buzzes and/or tuning prob- the first time you set up a microphone, but it the mics amongst reflective elements such as lems sabotage the tone of an otherwise pays to have a few tricks and techniques up glass doors or windows, plywood, metal or excellent guitar. your sleeve for those times when luck is par- glass furniture, or, if you happen to be a sly tying with someone else. “liberator” of rock history (not recommended), THE ROOM To provide you with the insight to record an authentic Abbey Road street sign. The recording environment also affects the stunning acoustic guitar tracks, we’ll trace the quality of the source sound. A typical bedroom audio path from source sound (the guitar) to studio—inhabited with plush bedding, thick tape, identifying some frequent problems and curtains, and wall-to-wall carpeting—produces discussing possible remedies. Keep in mind a very dry room tone that can suck the shim- that recording is often a creative science, rather mer out of even the most sparkling acoustic. than an exact one, and that experimentation On the other hand, a small, tiled bathroom and outright foolishness can produce brilliant often produces spiky signal reflections that can results. In other words, don’t get discouraged mix gnarly slapbacks and annoying flutter if you’re wrangling an awful tone. Persever- echoes with the source sound. ance, good ears, and common sense will Obviously, most home-studio buffs can’t prevail. afford to build acoustically marvelous rooms just to sate their recording jones. But you can THE SOURCE be a tad more finicky about where you record In the recording studio, the old adage “You can’t important acoustic guitar tracks. Play your gui-

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tar in every space in your house, and listen crit- selected is up to the task of reproducing every ically to determine where the tone sounds best nuance of the guitar’s timbre. To this end, your overall. Also note where the guitar sounds matchmaking should involve trying a number brightest, where it sounds chunkiest, and where of different mics to see which one best captures it sounds the downright weirdest. Don’t limit the instrument’s tone. As few home studios your search to actual rooms—audition stair- have bountiful microphone collections, this is wells, walk-in closets, enclosed patios, (unfilled) a good time to pool resources with other bathtubs, and other suitably bizarre nooks. The recordists in your area. If the “mic collective” reason for this is not simply to get crazy, but option is not possible, consider renting three to document the different sonic environments or four pro-quality microphones from a local available. While you’ll most frequently choose studio-rental outfit or a live-sound company. to record in the space you’ve marked as “best,” So which type of mics are the hippest? Well, at some point, a strange, spiky, or boomy room Fig. 2—Rooms that are too live can be tamed by condensers are often the hands-down winners. may produce better tonal options for a partic- employing sound-absorption devices such as These mics typically possess the sensitivity, ular track. tube traps—if you have the budget for them— frequency response, dynamic range, and mys- However, if you’re stuck with a bunch of or you can get inventive with mattresses, tic vibe factor to capture all the glories of an recording spaces that sound just plain funky, pillows, and thick blankets. acoustic guitar’s chime and luster. Large- you can try “tuning” the room acoustics. For diaphragm models offer a wide tonal range, example, if a room is so dead that it causes your with robust lows and shimmering highs, and guitar to sound limp and boring, scatter reflec- small-diaphragm models tend to accentuate tive surfaces around the mic positions (Fig. 1). mid and high frequencies. And if you desire a You can even counteract the sound-deaden- tad more warmth, tube condensers should ing characteristics of carpet by laying down bring a smile to your face. Dynamic mics— sheets of 1/2" plywood. such as the venerable Shure SM57—can Conversely, if an extremely live environ- certainly do a fine job, too, but most models ment is drowning tones in an ambient wash, fail to deliver the airy, dimensional quality of tame the signal reflections by enclosing the a good condenser. mic position in a web of soft, absorptive items such as blankets and throw pillows. Pro stu- MIC PLACEMENT dios often use specially designed absorptive Ultimately, the mics you choose and how you panels (Fig. 2) to “shrink” an acoustical space place them in relation to the source sound into a less ambient environment, and they’re determines the lion’s share of the recorded tim- a good investment if you plan to do a lot of bre. Of course, you can futz with EQ—and we’ll open miking at home. However, a little inge- get to that a little later on—but the basic foun- nuity can often turn household goods into Fig. 3—A single mic can deliver robust acoustic dation of the instrument’s tone often rests surprisingly workable sound absorbers. For tones if you aim it at the guitar’s sweet spot. solely on what you can accomplish with mic example, try standing a mattress on its side, placement. In addition, the less audio circuitry and leaning it against some chairs, or drape you can involve in the recording process, the thick blankets over a few sawhorses. Then, sim- better. By going directly from mic to mixer pre- ply move the objects around until the amp to tape, you bypass added electronics acoustical problems are diminished, or until (mixer EQ sections, insert points, effects sends, you hear the desired combination of source etc.) that can soil your tracks with audible hiss sound and room ambience. and other sonic gremlins. Therefore, be sure to allow yourself the time to really experiment MICROPHONES with mic positions. If it takes an hour or so to Once you’ve identified the timbral colors that discover a fantastic sound, so be it. The follow- are attainable acoustically, you can start audi- ing mic-placement techniques should help tioning a critical electronic tool: the you get started on your search. microphone. As the mic is really your aural Monaural miking. Having only one mic camera to sonic majesty, selecting a particu- available is not a tragedy. You can still capture lar type and model should not be taken lightly. an exquisite tone if you find the guitar’s sweet The acoustic guitar—much like the human spot. If you want to accentuate the instrument’s voice—is a very dynamic instrument that pro- high-end sheen, place a condenser approxi- duces an abundance of subtle and not-so-subtle mately ten inches from the face of the guitar, tonal shadings. It’s critical that the microphone pointing at the 12th fret (Fig. 3). To add some

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low end—or to balance the relationship to use matched mic pairs (same manufacturer between bass and treble frequencies—aim the and model) to capture a balanced and natural mic at the bottom of the soundhole, near the picture of the source sound, an unmatched bridge. Be sure that the mic capsule is not pair can be used to further emphasize the tim- pointing directly at the soundhole, however, bral differences between the guitar’s high and because the airflow can cause woofy or flabby low end (Fig. 4). bass. To minimize the boom, simply turn the Amp and acoustic. For a complex timbre mic until it is at a 45 degree angle to the top of that is rife with overtones and ambience, run the guitar so the air rush will not hit the mic an acoustic/electric guitar through an amp, capsule dead on. and set up two room mics—as well as a mic on Switching a multi-pattern condenser mic the amplifier’s speaker cabinet (Fig. 5). The mic to its cardioid pattern can minimize room used to record the speaker cabinet should be reflections and produce a sharp, articulate jan- a dynamic to best reproduce the midrange gle. For a more ambient perspective, select the punch of the guitar/amp combination. Posi- omnidirectional pattern, as it lets the mic hear tion the mic directly on the grille, dead center everything within a 360-degree radius. to the speaker cone, for a dry snap, or move Stereo miking. To produce a more expan- the mic back a few inches to capture some sive tonal spectrum, use a large-diaphragm room ambience. (You can also use the condenser to record the low-end resonance of acoustic/electric’s pickup output to record a the acoustic, and a small-diaphragm condenser fourth track as a safety. This direct signal will to pick up the guitar’s high-end sparkle. Posi- obviously be devoid of signal bleed and can be tion the large-diaphragm mic approximately used to bolster the track if the miked-amp tone six inches over the bridge, and angled towards is too messy.) the bottom of the soundhole. The small- Now, place two condensers in a left/right diaphragm mic should be placed four to eight stereo position to the performer and the amp. inches from the neck, aiming at the 12th fret. Experiment with the mics’ distance from the Both mics should be switched to their cardioid source sound until you hear a thrilling blend patterns to ensure that the stereo perspective of jangle and room tone. You can also play with is preserved. (Omnidirectional patterns can Fig. 4—Stereo miking yields expansive timbres. the width of the mic positions to expand the smear the articulation of the right/left sound Here, a Neumann U87 is positioned to capture stereo field, but take care—if you move the field by recording too much room ambience.) some lows, while an AKG C451 goes for the mics too far apart, you risk creating a “hole in While professional engineers often prefer sparkle. the middle” effect, where sounds coming directly at the listener lose tonal integrity and resolution. Obviously, you should also play with the tone and volume of the amp, as the amp sound will have a marked impact on the overall tim- bre. Although this technique is designed to produce a stereo soundscape, if your track space is limited, you can mix the three mic inputs to a single, monaural track, and still reap the tonal benefits of the multiple mic positions. For a brilliant stereo effect, however, record each of the three mics onto a separate track, and, at the mixdown, bring up the monaural amp track until it provides the left/right stereo field with an aggressive “centerfield” punch. Sing and play. The age-old problem of recording artists who simultaneously play and sing is how to deal with the signal bleed between voice and instrument. When miking acoustic guitarists, for example, you’ll always Fig. 5—Don’t waste the sonic possibilities of acoustic/electric models that can be both miked and get vocals on the guitar track and guitar on the amped. For this setup, I used four tracks: a direct signal from the guitar pickup, a miked-amp tone, vocal track. While you can’t totally isolate the and an ambient stereo perspective. two source sounds, you can diminish the bat-

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tling tones somewhat. adventurous sound sculpting. For example, A facile trick is to use a music stand as a run an acoustic/electric through a favorite sonic barrier between the guitar and the per- stompbox—going straight to tape via a direct former’s mouth (Fig. 6). Position the top of the box—and set up a mic to record an organic, music stand so that the tray can be tilted until ambient perspective (Fig. 7). Record the two it sits like a ledge about seven inches under the signals to separate tracks, and then adjust the player’s chin. (Obviously, you need a stand with tonal colors to taste during the mixdown. a solid-backed sheet-music tray for this tech- Skilled use of compression can also help nique.) Position the guitar mics under the tray punch up the sound of acoustic guitars. A basic in a stereo-miking position (as explained ear- setting for tightening up the jangle is a 2:1 ratio lier), and hang a vocal mic over the tray, at a threshold of -10dB. While this tweak also approximately five inches from the performer’s compromises the overall dynamic range of the lips. Finally, lay a small piece of cut-to-fit car- instrument—there will now be less of a level pet (or a hand towel) atop the tray to minimize difference between the loud and soft passages signal reflections bouncing off the tray itself. of the performance—the great side effect of The good news is that this contraption can compression is that it can make the guitar sit diminish signal bleed enough to let you into a track with more conviction and pres- increase the level of the guitar track during the Fig. 6—Look comfortable? This awkward setup ence. Experiment with various ratios, signal mix without also raising the perceived volume is designed to diminish mic bleed between the thresholds, and attack and release times until of the vocal, or vice versa. Phase cancellation vocal and the guitar when a performer wants you achieve the desired amount of punch. A due to massive signal bleed is also minimized. to sing and play simultaneously. A music stand helpful hint: As compression often changes The bad news, however, is that this is hardly a with a piece of carpet on top acts as a sonic the timbre of the source sound, it’s best to dial comfortable position for the performer. Use barrier between the vocal mic and the two in your compression settings before making your judgment as to whether the improved guitar mics. any critical EQ adjustments. sonic quality is worth the diminished perform- ance quality of a cranky artist. ARRANGEMENT SENSE If you want your home-studio productions to EQ compete with major-label releases, a basic Although you can produce a cleaner, more vis- knowledge of recording techniques is critical. ceral sound by minimizing the presence of However, keep in mind that brilliant audio studio electronics, mic placement alone is chops won’t save a bad song, or a bad song sometimes not enough to deliver the perfect arrangement. acoustic-guitar tone. In these instances, for- To really make your acoustic guitar tracks get about what’s optimum, and start twisting shine, you must determine what role the your console’s EQ knobs. Here are some basic acoustic is playing in your production, and quick fixes for common tonal problems: record an appropriate tone. For example, a • If traffic rumbles, electronic hum, or room huge acoustic guitar sound is not usually a resonances are muddying the low end of your good thing if you plan to fade acoustic tracks guitar, try cutting 80Hz or 100Hz by 7dB to under electric rhythm guitar tracks á la Pete 10dB. Take care to cut just enough to lose the Townshend. For this application, the thinner bad stuff—you don’t want to thin out the gui- the guitar sound the better, as a robust tone tar tone. may compete with the electric guitars and the • To liven up dull strings (or dull rooms), Fig. 7—Again, don’t overlook the wacky signal- bass, ultimately causing the mix to sound clut- boost 3kHz to 5kHz by 3dB or so. processing capabilities of an acoustic/electric tered and boomy. Conversely, a solo-acoustic • Want more sparkle? Boost 10kHz or 12kHz guitar. Here, an AKG C414 captures the guitar’s performance should probably be recorded with by 6dB. natural timbre, while a Danelectro Cool Cat all the bass, midrange, and treble frequencies • To tame overly aggressive midrange fre- chorus brings on some shimmering swirls. The the guitar can deliver. quencies that are making the guitar sound two different tones were blended at mixdown. The trick here is to avoid considering the clangorous, try cutting anywhere between acoustic guitar as the main or singular element 750Hz and 3kHz by at least 6dB. of an audio production. No sound is an island. Ultimately, all timbres must coexist within the SIGNAL PROCESSING stereo soundscape of your mix. So don’t just As there is no law against recording unnatural strive to record great guitar tones—struggle to acoustic guitar timbres, have a little fun by produce empathetic timbres. Your songs will using the acoustic as a basic tone for some thank you. ●

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Recording Lead Vocals For Maximum Impact Photo By Paul Haggard Good Tools for Great Vocals

he human voice was arguably dramatically over the years, and what happens emotion. The tools used to record vocals—like the first instrument, and to this after they’re captured—like correcting pitch mics—have proliferated to the point where it’s day it remains the focus of deviations—has aroused a storm of contro- easy to experience option overload. If a singer many styles of music. But the versy. loses that moment of inspiration because you technique and technology for Reality check: We’re not here just to cap- wanted to try out mic #5 to see if it sounded T capturing vocals has changed ture a performance, but also to capture an better than mics 1-4, you’ll realize that any mic discmakers.com/RecGuide THE MUSICIAN’S GUIDE TO RECORDING 35 DM_track_leadvox.qxd 12/13/10 2:22 PM Page 36

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5 WAYS TO STANDOUT VOCAL TRACKS

KISS AN OMNI THINK SMALL The problem with cardioid and other directional mics (such as Most vocal tracks are cut using a large-diaphragm condenser mic. those that have a hyper-cardioid, super-cardioid, or figure-8 polar Small-diaphragm condensers generally capture more detail than pattern) is that they have an inherent bass-proximity effect. The their larger cousins, but their lightweight diaphragms tend to pop closer you get to a directional mic, the more bass boost your vocal very easily when exposed to vocal plosives and wind from heavy track will exhibit. That’s not necessarily a big issue if you maintain breathers. For a vocal track brimming with detail, try singing over the same distance from the mic at all times while singing. But should the top of—instead of directly into—an omni small-diaphragm you vary how close you stand to the mic, many vocal lines will have condenser mic. Omni mode is typically the least sensitive to plo- a completely different tone from the others. For a consistent sound, sives and wind turbulence and therefore less likely to pop. And if you may need to adjust bass-cut equalization line-by-line during you sing 90 degrees off-axis (that is, perpendicular) to the mic’s mixdown to clean up varying amounts of mud and boominess on diaphragm, wind from your mouth will safely project over its top. your vocal track. Use a windscreen for added protection. An omnidirectional microphone exhibits no proximity effect, no matter how close you are to the mic. This allows you to get within SLOUCH! kissing distance of the mic’s capsule and still produce a crystal- There’s a good reason why many singers prowl the stage bent over like clear sound. Sing as close to an omni mic as possible, and your the Hunchback of Notre Dame while belting it out—diaphragm sup- tracks will boast technicolor detail and compelling urgency that port. For more power in your vocal delivery, try setting up your mic demand attention. If the mic overloads, switch on the pad to pre- about a foot lower than your lips and angle it up toward your mouth vent distortion. at roughly a 45-degree angle. You’ll need to bend forward in order to sing directly into the mic. Doing so will compress your diaphragm, TRY A FIGURE-8 providing greater support that will turbo-charge your vocals. If your trademark is a singing voice with naturally very deep bass, an omni mic may not do you justice. Try setting a multi-pattern STARVE YOUR HEADPHONE MIX mic to its figure-8 (or bi-directional) position instead. All other Listening to too many tracks while singing can confuse your sense things being equal, a figure-8 mic will produce the most low bass. of pitch and groove. Limit your headphone mix to drums, bass, one Try singing about a foot away from the mic, and keep that distance or two chordal instruments, and your live vocals. Hearing instru- consistent. During mixdown, use a parametric equalizer’s bell- ments that play melody lines, especially in your vocal range, will curve filter to cut roughly 4dB at around 150Hz, and set the filter’s tend to distract and make you sing off-key, so take ’em out of the Q control to about 1.2. That will clean up any muddiness that the cans. To improve your vocal phrasing, goose the kick and snare figure-8 mode produced but leave the lowest bass frequencies drums in your cue mix to reinforce the beat and backbeat. Add lit- intact. Don’t be afraid to apply a little bit of narrow bass boost at tle or no reverb and other effects to your vocals in the headphone around 60Hz to enhance that glorious low end you were born with, mix, because they will also throw you off-pitch. A vocal that sounds and apply a bit of boost at 4kHz to improve presence. The result: a great with such a sparse headphone mix will sound unbelievable clear, detailed vocal with mineshaft-deep bottom end. once the other instruments and effects are added during mixdown. —Michael Cooper

would have been a better choice. Let’s sort out the techniques and technolo- microphone preamps and channel strips, plus Recording vocals is easy. Recording great gies that will help you record better vocals, and a vast sea of compressors, limiters, gates, EQs, vocals is more difficult. But recording vocals figure out how to tame technology so it serves and vocal processors of every stripe. How can that move the listener is the real goal. There’s us instead of taking over. It’s all about the right you possibly narrow down the choices to what a great line in the movie Spice World where performer, the right gear, the right techniques, you need? Let’s take a look at the components someone working with the Spice Girls says, the right attitude, and yes, the right magic. in a vocal recording chain, and how to use them. “That was absolutely perfect—without being Ready to push the record button? Let’s go. actually any good.” Capturing the best vocal tracks requires the MICROPHONES Are we recording perfect vocals, or vocals right tools, along with the knowledge and tech- The microphone is the recording chain’s first that are really good? Are we using pitch cor- nique to apply them well. However, while the stage, and sets the “tone” of things to come. rection to fix a few choice glitches, or as a tools for recording vocals are well established, Choosing the best mic for a particular voice default on a track? Are composite vocals suck- the variety and assortment available can be can be a challenge. Once you’ve learned your ing the life out of a performance, or helping to overwhelming. You can choose among hun- mics’ sound, you’ll more easily match them augment the life that’s already there? dreds of microphones, an amazing array of with the characteristics of each voice—such

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as putting a darker-sounding mic with a bright, distortion from plosives—the bassy pops that mic without physically coupling it to the mic strident voice. But even if you know your mics result from sounds such as “p” and “b.” But pop stand. extremely well, selecting the right one may filters can serve another purpose: If you’re involve some trial and error. Consider the mic’s working with an inexperienced singer, set one PREAMPS dynamic response as well as its sound—in most up at the distance you want them from the mic, After the microphone, the mic preamp is prob- cases you’ll want equal dynamics from the and tell them to stick right on it as they sing. ably the biggest contributor to the vocal sound, singer and mic, but if your vocalist is overly This will not only help control proximity effect, gear-wise. As with mics, there are literally hun- dynamic, a mic with a smoother dynamic but also erratic dynamics and vocal level—the dreds of preamps available, from those built response can be a help. singer has something to focus on. into low-end recorders to big-bucks boutique Most engineers default to using large- Note that pop filters and windscreens are models. Flavors run the gamut from solid-state diaphragm condensers for vocals, but don’t let different. A pop filter is generally fabric stretched to tube to units that can blend the two types that stop you from trying whatever you can. If over a frame that’s positioned in front of the mic. of circuits together. a small-diaphragm mic sounds best, go for it! (Higher-tech designs use screen grids and As a result you can access myriad preamp Likewise, cardioid is the most commonly used molded plastic louvers to redirect plosives away tones, with one that’s hopefully appropriate polar pattern due to its good rejection of from the mic diaphragm.) A windscreen is hunk for each situation. But you also have to sift unwanted room noise and reflections, but that of fitted foam that slips over the mic and is through the available choices before settling shouldn’t stop you from trying mics with other designed for live use outdoors to curb wind on the best one. As with mics, this ultimately patterns. noise, etc. Most windscreens audibly affect the comes down to personal preference and knowl- Cardioid mics typically feature strong prox- mic’s frequency response, so they’re not used edge of the sound of the preamps at your imity effect, which an experienced vocalist can in studio situations. disposal. Is the preamp extremely present? put to good use. Careful though, inexperienced Then it will help a mellow voice punch through singers tend to “eat” the mic to get the fattest SHOCKMOUNTS a mix, but may make a harsh voice even sound, resulting in unwanted distortion and For a sensitive large-diaphragm mic, a shock- harsher. It’s also important to match the mic severely reduced dynamics. One tool to help mount can be a useful accessory. This isolates to the mic preamp—certain mics sound great counter this is a . . . the mic physically from its environment so that through some preamps, not as well through noise transmitted through the mic stand others. You can look at spec sheets all day, but POP FILTER (thumps, foot tapping, rumble) won’t be picked the only way to really know how a mic will This device helps protect the mic from mois- up by the mic. Most use some variation on elas- respond with a preamp is to try them out ture from the vocalist’s mouth, and controls tic bands woven into a web that supports the together.

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Also consider the preamp’s dynamic options: reposition the mic to capture a dif- their dynamics and levels. But this is the real response. Some will be smoother, while oth- ferent tonality, or use EQ to create the sound world, and dynamics control for vocals can be ers will faithfully track even the slightest level you want. necessary. While 24-bit (and higher) recorders change and inflection in the vocal. Which type As with most questions related to gear selec- have reduced the need for heavy compression you want depends on the result you’re after. tion and technique, there’s no correct answer — at least during tracking — it can still be use- to whether you should EQ as you track or not. ful to clamp down a bit if the performer has EQ Most engineers ultimately admit that the ends too wide a dynamic range. Engineers tend to fall into two camps: Those justify the means—as long as the final tracks If you’re recording once-in-a-lifetime tracks who will use EQ during tracking, and those sound great, who cares how you got there? Per- digitally, you might also want to consider either who refuse to let an EQ touch their signal sonally, I try to use mic and preamp selection, inserting a limiter in the signal path to help chains. Which type you are depends on a as well as mic technique, to get as close to the prevent digital overs and resulting nasty dis- number of things, including your confidence sound I want as possible (hopefully all the way tortion, or to use an analog-to-digital converter in your ability to select EQ settings that will there). But if it’s necessary to add a dB here and with built-in limiting (although these built-in hold up all the way through the final mixdown, there during tracking to make things sound limiters may be very audible when they kick and your feelings on whether EQ should cor- right, then so be it. in on a loud passage). Still, that can beat a big rect for frequency response characteristics, burst of digital grunge in an otherwise pristine or if a different mic/preamp should be used COMPRESSION track. While it’s best to set your levels conser- for the track. For many, the second factor really In the ideal world, there would be no need for vatively if you’re not going to get a second shot comes down to how much gear is available. dynamics control. Our recording devices would at a take, if you’re going to use a limiter to pre- If you have one mic and one preamp, and have unlimited headroom, and vocalists and vent overs, use the best, most transparent one they’re both bright sounding, you have two performers would have complete mastery over you can find. —Craig Anderton 10 Ways to Ensure a Productive Vocal Session

SEE THE COACH good vocal. Matt Forger— who engineered FRESHNESS COUNTS Working with a vocal coach prior to recording Michael Jackson’s Thriller, Bad, and Danger- Don’t make the vocalist wait for other instru- is always a good idea. Go through the material ous albums—advises: “Do vocal exercises so ments to be tracked before you start on the you’re going to record, and listen to the coach’s that your voice will sound up to par right from vocals. The singer may get tired or distracted, feedback on pitch, phrasing, stamina, breath- the beginning of the session.” I like to sing and lose the energy required to cut a great vocal ing, and so on. The goal is to remedy any scales in an octave sequence up to my high track. Always schedule a separate date that potential vocal problems before you stand in end, and then sing the chorus of the song I’m focuses solely on the vocal tracks. front of those sexy studio mics. about to record to see if my voice feels com- pletely comfortable and free. Remember, unlike PICK THE RIGHT MIC DO PREPRODUCTION guitarists or keyboard players, the singer’s body Microphones bring out different textures, tim- Work out the song so that the lyrics, timing, is their instrument, so make sure the vocalist bres, and overtones. Try a least three mics for phrasing, and breathing are rock solid before is in his or her peak-performance zone. reference, and choose which one sounds best. you start recording. This sounds so obvious, but many singers and producers blow this step, and the result is often a performance that’s less HOW TO DESTROY PLOSIVES than what it could (or should) be. Maybe you used a pop filter, maybe you didn’t. Maybe the singer was a little over-enthu- CHOOSE THE siastic that night. In any event, there’s a P-pop (called a “plosive”) that’s sitting in the RIGHT KEY track like a cockroach in a punch bowl. Mostly, this is low-frequency energy. Select the A half-step up or down can make a huge dif- popping sound (which can happen with “b” and other sounds as well as “p” sounds), ference in whether a singer can deliver a great and apply a sharp low-cut filter. Set the cutoff at around 100Hz and see if that helps. If performance. Try the song in at least three keys: not, you may need to: the key you think it will work in, a half step [1] Move the cutoff higher to remove more bass. higher, and a half step lower. [2] Increase the slope to attenuate the bass further. [3] Place two filters in series to double the amount of attenuation. WARM UP [4] Combine low-shelf and parametric EQ to reduce low-frequency energy. Most singers typically need 45 minutes to an —Craig Anderton hour to warm up their voices enough to cut a

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Don’t make the selection based on the price or sound of your voice in the recording space. model. (Don’t laugh—some musicians go for Additionally, you can cover the “free” ear to tap HELPFUL FEEDBACK the most expensive mics whether those mics into bone resonance if you need to hear your Make sure that all vocal instructions are clear enhance their voice or not.) voice clearer. and specific. This is where constructive criticism comes in. Negativity only makes things worse. HEADPHONE HAVE A ROAD MAP TECHNIQUES Put a lyric sheet on a music stand and use it to BE REALISTIC First, you need a good headphone mix to ensure make notes—including breath marks. The engi- The recording process will always take longer the singer can feel the music. A vocalist shouldn’t neer and producer should have copies, as well, than you think. You may want to cut three lead start singing until he or she is 100-percent so that they can notate pitchy parts, lyric goofs, vocals and all the harmonies in one four-hour happy with their mix. If the headphones kick technical misfires, and any other problems. session, but the goal is to cut an amazing in a feeling of claustrophobia, go for the one When everyone is on the same page, so to speak, vocal, not check off objectives on a to-do list. earpiece on/one earpiece off method. This the chore of fixing less-than-stellar moments In short, don’t choose quantity over quality. approach lets you hear both the track and the in the vocal performance is much easier. —Teri Danz ●

BANISH HEADPHONES

rank Sinatra was a tough customer in the studio. He wanted to where the mic hears almost none of the backing tracks. It can work, Fsing in the room with the band, and the musicians had to be but it can also be too much trouble wiring your monitors one way on their game. This was the era of capturing transcendent live per- for tracking, and then switching the wiring for listening back. (I’m formances from exceptional players, so there was no doing 20 takes assuming most home studios are working with one set of monitors.) to acquire “audio data” for comping, no isolation booths, and no The easiest move is to experiment with mic placement and playback headphones. Yeah, Clyde, it was Frank’s way or the highway. volume until you’re happy with the balance of source sound (the But, even though many recording types are currently under the vocal) and signal leakage (the track). Choosing a microphone with spell of DAW editing, this doesn’t mean vocalists must sacrifice a cardioid or supercardioid polar pattern that “hears” less sound their “inner Frank” by jettisoning personal comfort in favor of the from directly behind it will also help diminish leakage. I stand a bit supposed requirements of technology. For example, if you hate to the side of the monitors and keep the volume at a low, but com- wearing headphones while singing, you can dropkick those pup- fortable playback volume that allows me to hear everything I need pies—just make sure you are aware of what you may gain or lose to find my pitch and deliver the proper energy and phrasing. I also by such an action. play back the entire mix, rather than select just drums, bass, and gui- tar to minimize the number of instruments sneaking into the vocal THE PRO/CON GAME mic. I figure, why go the “I’m free” route in order to cut a more amped- The main drag of wearing headphones for some singers is the weird up vocal if you’re only going to delete some of the elements that make feeling of being isolated from the fury of sound produced by the your rhythm tracks rage? The goal here is to deliver a thrilling vocal band. This distraction can sometimes result in a stiff performance performance, so give yourself a mix that fires you up and triggers all that doesn’t match the energy or vibe of the track. Even the slight your rock-star neurons. physical impediment of having foam pads pressing against your ears and a cable dangling from head to toe can be enough of a bother to AH, THE GLORY . . . prevent a vocalist from really letting go. On the other hand, a clear The genius of tracking without headphones is only proven by a benefit of wearing headphones is that the direct-to-ear sound source vocalist delivering a brilliant take that leaves you stunned, excited, can often help pitchy singers find their notes more easily. Likewise, and shivering with bliss. You’ll know it when you hear it. ’Nuff said. singers who exhibit difficulty with phrasing might lock in better by having the groove pounded directly into their ears. The trick is deter- OOO, THE AGONY . . . mining whether headphones are truly one of the obstacles to The downside of singing without headphones has already been capturing a great track. revealed—it’s the resulting signal leakage. What this typically means in a practical sense is that you may not be able to bathe the vocal in THE SANS HEADPHONES SETUP massive reverb, long delays, and other aggressive processing, because If a set of headphones proves to be your “poor-performance culprit,” whatever other signals appear in the vocal track will be effected, as tracking without them is pretty simple from a logistical standpoint. well. For example, if you want a specific line to echo-echo-echo, you Drop your mic stand somewhere near your speakers, stand in front might hear the drums and guitars echoing, too. Of course, a lot of of the mic, roll the track, and sing. Some professional recording engi- leakage never hurt Phil Spector’s “wall of sound” productions, so, neers diminish signal leakage into the vocal mic by wiring the playback once again, it’s your personal concept of the final mix that will likely speakers out-of-phase and positioning the singer in a “sweet spot” determine your comfort level with signal leakage. —Michael Molenda

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A Comprehensive Guide to Recording Bass BY JAY GRAYDON AND CRAIG ANDERTON

ecording bass is easy, right? You just plug right into the mixer and go direct for a clean tone, and you can also stick a mic in front of your amp to make your bass sound more live. What could be simpler? Not so fast. Recording bass is indeed simple—but getting a tone with god-like low end, crispy and well-defined presence, and a consistent level is a whole other story. To begin with, there’s the issue of physically recording the bass: Do you go direct, mic an amp, or both? And if you do use an amp, what kind of speaker sounds best, and where should you place the mic? What happens if the frequency response isn’t even, with a wimpy low end and muddy midrange? There’s also the problem of uneven level, where someR notes jump out while other notes sit timidly back in the track. And if you didn’t have enough to think about already, you should know even your cords can affect your sound. Recording Direct

ith direct recording, you plug the bass into a direct box (also THERE ARE THREE BASIC DI DESIGNS called a DI, for direct input), whose output typically feeds • Passive. Uses an audio transformer with a high-impedance input and low-imped- aW mixer’s mic-preamp input. Recording bass ance output. Unfortunately, quality transformers are expensive, and a passive-DI direct is popular because loudspeakers and input can still impedance-load the pickup somewhat, resulting in a dark, mushy microphones don’t handle low frequencies very sound and reduced level. However, if you’re trying to recreate classic bass sounds of well, often removing some of the fullness. the ’60s and ’70s, transformer-based DIs will get you there. Unlike guitar amps, where speaker limitations • Active solid state. Essentially a preamp that adds clarity and punch compared can enhance the sound, bass amps are con- to a passive DI. Downsides include more noise and the need for a power supply (bat- stantly fighting the laws of physics. Still, since tery, ac adapter, or console phantom power). an amp can be a big part of a bassist’s sound, • Active tube. Similar to the solid-state type but with a vacuum tube. Tubes have some people like to mic their amp or combine high input impedances, making them well-suited for pickups; they can also warm up a miked amp and a direct box. the sound. Tube direct boxes require their own power supply. Incidentally, before plugging into any DI or patching one into a mixer, set the con- DIRECT BOXES sole’s faders all the way down to avoid nasty noises and possible speaker damage. A direct box transforms the high-impedance output of a typical bass (approximately 4,000 to 10,000ø) to a low impedance (usually 150–600ø). This lower-impedance signal is bet- • XLR (3-pin) output jack. This uses a mic gets mixed in with the main signal, etc. Note: ter suited for mixing consoles, which usually cable to take the signal to the board. Some DI designs use this jack as a “mult” (sim- have a fairly low input impedance. • 1/4” output jack. This can be routed to an ple split) from the input jack. If so, plug this A DI has some or all of the following: unbalanced mixer input but can also feed a only into a bass amp, not a mixing console. • 1/4” input jack. The bass plugs into this. standard bass amp, drive an effects pedal that • Ground-lift switch. This helps eliminate

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TrackIt! A COMPREHENSIVE GUIDE TO RECORDING BASS

ground loops; if you encounter hum, radio- have xlr outputs for direct recording. These plugging in only partially, or you may need to frequency interference, or other forms of noise, preamps have q” output jacks and can directly use an unbalanced-to-balanced adapter. use whichever switch position sounds best. drive a console with unbalanced inputs—no • Goodies. Direct boxes may also include DI required. DIRECT EQ, distortion options, and other extras. • Bass amp direct out. Many amps have a RECORDER FEED Direct boxes are also useful for live per- direct output for recording or PA connection. For the cleanest possible signal, bypass the formance, as you can pull a direct output for Some have a q” output jack, but recording- mixer entirely and patch the DI out, preamp the PA and/or recording setup and also feed a savvy manufacturers may include an xlr. out, or effects send directly into the recorder. bass amp onstage. • Effects-loop send connection. If an amp There’s nothing quite like a good tube direct has an effects loop, you can use the send jack box feeding a quality recording deck. PREAMPS as a preamp out. Some loops use a 1/4” TRS Instead of using a DI box, you can use a pre- (tip-ring-sleeve) stereo jack where the tip cor- CABLES & amp. Preamps add gain to the bass signal, responds to send and the ring corresponds to CONNECTIONS which improves the signal-to-noise ratio and return; to use such a jack as a preamp out for In a typical studio setup, you’d patch your bass delivers more signal to the console. There are a mono 1/4” plug, insert the plug halfway— into a direct box’s input and patch the output four main types: until it hits the first “click.” (Plugging in all the into the mixer (or mic bay, in larger studios). • Onboard. Some basses have built-in active way will interrupt the effects loop, thus allow- It’s usually best to use the DI’s XLRjack, as this electronics that deliver a hefty signal capable ing no output from the amp.) is tailored for the console’s mic input. If there’s of directly driving an unbalanced mixer input. an additional 1/4” output, you can run it to This also minimizes the impedance-loading FEEDING THE your bass amp, either for monitoring or mik- effects of cables and amplifiers or mixer-chan- PATCH BAY ing. Careful, though—with some DIs the XLR nel inputs. You can also plug an unbalanced output into a and 1/4” jacks aren’t isolated from each other, • Outboard. Typically a rackmount unit con- recording-console patch bay that has 1/4” jacks. so using more than one of these outputs can taining controls for gain, EQ, etc. Some also Depending on the patch bay, this may require cause loading problems that degrade the sound.

Amp Miking

dding a miked amp to your direct work: dynamic, condenser, or rib- a combo and you’re picking up signal changes your tone, since a bon. If the amp will be fairly loud, 22∞ hum from the amp’s trans- microphone, amplifier, speaker, use a dynamic mic; these deal best former (which typically sits on and cabinet are now in the equa- with loud sound sources. (Rule of one side of the chassis), move tion.A They’re all essentially signal processors, thumb: Never put a condenser or the mic to the other side. If that and the way you use them will make a big dif- ribbon mic where you wouldn’t put doesn’t solve the problem, move ference in the final sound. your ear.) Whatever mic you select, the mic toward the lower part of choose one with an even bottom- the speaker. The sound bounc- SECRETS OF THE end frequency response. ing off the floor may cause GRILLE COVER For a single-speaker cabinet, phase anomalies, so consider A grille cover is a passive filter that can affect start by positioning the mic in front putting the cabinet on a chair, frequency response, and if it rings or resonates of the speaker, directly facing the milk crate, etc. Also, when an it may buzz like a blown speaker. Once a cab- cone. To capture the punch of the Fig. 1—Pointing a mic at a amp sits on the floor, there is a inet is in place in the studio, if it’s easy to remove moving air, mic very closely—about single speaker. buildup of low end; this may not the cover, do so—the sound will be better. How- one inch back from the grille cover be a problem when recording ever, don’t let a mic hit an exposed speaker—be (or where the cover was before you removed unless you notice uneven lows. If so, raise the sure to anchor it (see below). it). Pointing the mic at the speaker cone does- amp or reposition the mic. n’t allow for much low end, though, so more Sometimes you’ll find a mic position where MIC POSITIONING upper-mid frequencies will come through. As the bottom end sounds good but there aren’t It helps to have someone else, like a second you play, have someone slowly move the mic enough mids. In this case, try angling the mic engineer, adjust the mic position while you’re toward the speaker’s left or right outer edge. slightly toward the cone at about a 22° angle in the control room. (If the console is in the You can also try moving the mic toward the top (see Fig. 1). same room as the musicians, all of you may be of the speaker, but only if the amp electronics If the cabinet has more than one speaker, wearing headphones.) Any type of mic can are not right over the speaker. If you’re using mic each to find the best-sounding one. Use

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that speaker mostly for the bottom end, point- Secure the cable to the floor. On wood floors fled “tight.” (With an open-back cabinet, leave ing the mic at least halfway between the cone use duct tape, and cross the cable with tape in breathing room in the back, too.) If the room and the edge. (Moving closer to the outer edge one-foot strips at least every two or three feet. has a soft, non-reflective wall, point the cabi- results in less mids, but going too far reduces Avoid duct tape on carpeted floors; instead, net toward it and use the wall as a baffle. Angle punch and adds mud.) Then, for the mids, put throw rugs or carpet remnants over the the speaker slightly away from the wall to avoid point a separate mic directly at the center of cable. phase problems. the second-best-sounding speaker. Experi- Caution: When baffling overhead with ment with both mic positions. GROUND ZERO combo amps, allow for air circulation to pre- Important: With two or more mics, keep Before plugging any mics into the console, vent the amp from overheating. Never let a them the same distance from the cabinet so set the board’s faders all the way down. In fact, blanket drape over the back of an amp! With a both will receive the sound at the same time. whenever you start a recording session, it’s separate head and cabinet, set the amp head If there’s a difference you may get phase prob- good practice to “zero out” the console (i.e., on a carpeted section of floor so the speakers lems, which can cause frequency buildups turn down all faders and auxiliary sends, reset won’t rattle the electronics. As always, patch and cancellations. If the board has phase all EQ controls, and set all switches to their the amp to the cab with heavy-duty speaker switches, blend the channels in mono, flip standard positions). cables—preferably 14 gauge or heavier—not one mic channel’s switch, and use the posi- mic or guitar cables. tion where both mics’ combined sound is BAFFLING THE AMP stronger. And if you’re combining the mics When your amp is in a live-sounding small REFINING THE SOUND with a direct signal, check its phase against or medium-size room along with mics for other Once the baffling is set and the mic is that of the combined mics, too. instruments, leakage from one track to another roughly in place, dial in the sound on the con- can occur. Leakage will be a major problem if sole. First, set the levels to avoid overload. Next, ANCHORING THE MIC you need to fix a performance later, because move the mic to find the best spot. Before STAND & CABLE when you punch in, the leakage disappears adding console EQ, try adjusting the tone at Merely positioning the mic is not enough—it and the mix changes. Baffling (surrounding the amp; when it sounds good, try adding some has to be stable. Most mic-stand bases can tip the amp with sound-absorbent structures) can console EQ. If the sound still isn’t right, you easily. The heavier the base, the better. Anchor minimize leakage. may need to move the mic around some more. the stand with sand bags or any stable, heavy If necessary, create a “baffle box.” Pro stu- If that helps, switch out the EQ and start over. object that will not slip or rattle. Placing three dios use manufactured baffles that combine Try other mics, too. You often won’t get things 20-pound sand bags around the base is ideal. air pockets and sound-absorbing materials; right the first time, so don’t be impatient. While positioning the mic, wrap its cable however, you can stack milk crates and throw Even with really good miking, you may around the stand’s boom (adjustable upper blankets over them, or get two tall fans and notice certain notes jumping out or dropping arm) a few times, and leave a little slack so the stretch a thick blanket between them. All baf- back in level. This is normal and caused by fre- cord doesn’t pull and change the mic’s posi- fle surfaces should be very soft—for example, quency buildups and cancellations. Adding tion. To keep the cord from moving, tie it to the cloth stuffed with cotton. Baffle each side of compression should help. stand using removable cable ties. Don’t use the amp (unless you’re using a closed-back When the amp is isolated in its own room, permanent cable ties, as you will have to cut cabinet, in which case the baffles can form a adding a room mic can yield a more live, rock- the tie later and risk damaging the cable. Vel- V in front), with a baffle lying across the box’s friendly sound. Place it a fair distance from the cro cable wraps are the easiest to set up and top. If you don’t have a good baffle for the top, amp so it picks up lots of room reflections. There remove. Duct tape also works, although it leaves use a packing blanket. Leave room on the front may be huge anomalies in the low end, so you an adhesive residue. There should be very lit- for speaker “breathing room” as well as space may need to add lots of compression and EQ tle cable slack at the mic-stand base. for the mic stand. All other sides can be baf- before it blends with the other bass signals.

Equalization

qualization can make or break a bass and find “sweet spots.” STRINGS AS TONE sound. It’s important to remember As usual, experimentation is the key. Tweak CONTROLS no two instruments sound exactly the EQ controls and let your ears be your guide; Strings are the most basic form of EQ. New alike—so in addition to trying the there are no rules in EQ-land. And remember that roundwounds have more highs; old strings Esuggested EQ settings, you should get to know like basses, not all EQs have the same sonic char- sound more dull—or mellow, depending on how your bass responds at specific frequen- acter. This is one area where subtle differences in your taste—and may also have tuning incon- cies. This will help you recognize problem areas tone can really influence the overall sound. sistencies. Flatwounds have less highs and

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EQ TYPES

Shelving EQ is similar to the type found on a typical home stereo. a graphic EQ offers, the more precise the adjustments you can make. It can boost or cut either the treble or the bass. Fig. 2 shows the Top-of-the-line graphics provide a band every third of an octave. shelving EQ’s response; note that in this example the corner fre- Graphic EQs work best for subtle sound-shaping over a wide range, quency (the frequency where the boosting or cutting begins) is not or significant boosts or cuts within just one or two bands. selectable. Common corner frequencies are 100Hz for bass and A parametric equalizer is a more flexible device that spaces sev- 10kHz for treble. eral full-function, active filters throughout the audio spectrum. A 3-band EQ system adds a midrange control, which typically Controls for each filter include boost/cut, center frequency, and boosts or cuts 12dB–18dB, sometimes at a selectable frequency. A bandwidth (the range of frequencies boosted, also called “Q” or stepped switch or variable control selects the center frequency, and “resonance”). Fig. 3 illustrates both the response of a typical para- a knob dials in the amount of boost or cut. metric EQ stage and the concept of bandwidth. Graphic EQ splits the audio spectrum into a number of bands Some boards have what’s called “quasi-parametric EQ.” This and lets you boost or cut each band with a slider. The more bands resembles a parametric but without the bandwidth control.

frequency bass boost treble boost

boost cut

bass cut treble cut level level bandwidth frequency frequency Fig. 2—Shelving EQ response. Fig. 3—Parametric EQ response.

produce fewer squeaks. Also, playing finger- bad (muddy, noisy, etc.). After finding a good ting in this range, using shelving EQ if avail- style generally produces less highs than using spot, set the boost/cut to flat, turn up to a nor- able. (Beware of low-cut buttons on mixing a pick. mal monitoring level, and then boost or cut as boards; if they extend higher than about 30Hz, To make sure your new strings stay in tune needed. You may also need to narrow or widen they’ll thin out your tone.) while recording, after tuning a string to pitch the Q setting; go back and forth between the 30Hz–150Hz. Boosting here brings out the (preferably with an electronic tuner), pull hard Q and boost/cut controls until you get the fundamentals (lowest harmonics) of your bass on it to take up any slack on the tuning sound you want. notes. machine. Retune, pull again, and repeat until Follow the same procedure with all of the 150Hz–200Hz. A little 200Hz boost may the pitch stays constant. frequency ranges on the EQ. If you hear a help the bass seem rounder—but if you add response “bump” (peak) you want to remove, only at 200Hz, lower frequencies may seem FINDING EQ find the frequency where the bump is most less prominent, thinning out your tone. If you HOT SPOTS obnoxious and cut that frequency until the like what you hear when boosting at 200Hz, Here’s how to find any instrument’s EQ “hot sound is more balanced. With parametric EQ, use a parametric EQ with a wide Q (two or more spots.” It works best on a full parametric EQ, if the bump is not too wide, a small Q may be octaves) so the boost extends down to 100Hz. but you can modify the procedure to work with all you need. If using a wide Q reaches up into the other EQ types. 300Hz–400Hz range and the sound becomes 1. Start with very low monitor levels, as TYPICAL HOT SPOTS too “puffy,” narrow the Q. you’ll be adding a lot of boost. Set the boost/cut Here are some important frequency ranges for 200Hz–600Hz. Boosting in this area tends controls to zero and the bandwidth controls bass: to cloud up the sound, making neither the to a relatively narrow Q value (such as one- 10Hz–30Hz. Most home stereos can’t repro- notes nor their attacks stronger. You may even quarter octave). duce this range, so there’s little point in want to cut a bit in this region, but be careful— 2. While you’re playing, have someone boost boosting here. If you do boost in this area and there’s still significant bass energy here. the low frequencies by 6dB–8dB. Sweep the don’t hear any change, return to zero boost; 600Hz–1kHz. To emphasize the higher har- frequency control—rapidly at first to get an otherwise you’ll use up headroom on frequen- monics, try boosting here. A little more 800Hz overview, and then more slowly to zero in on cies you’ll never hear, and you may even usually does the trick. If the bass is in a thick specific areas. damage your monitors’ woofers. While miking mix and isn’t very audible, boosting here will 3. You will encounter certain settings that your amp, if you hear “room rumble” from a allow the bass to “speak” more—and you won’t sound good and strong, while others will sound ventilation system or outside traffic, try cut- have to increase the overall level (which can

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A COMPREHENSIVE GUIDE TO RECORDING BASS TrackIt!

clutter the mix further). sounds good by itself. You will almost surely recorder and the bass has its own track, wait to 1kHz–3kHz. 1kHz helps define notes but re-tweak EQ during mixdown so the bass sits roll off any high-frequency hiss until the mix- does not increase brightness. 1.5kHz–3kHz well with the other tracks—but get as close ing stage so you can reduce the tape hiss as well. emphasizes upper harmonics as well as the as possible while tracking, as the bass tone (This tip applies to any noisy signal recorded sound of the strings hitting the neck. In gen- will also influence the other parts as well as onto analog tape.) Hiss can be reduced by eral, boosting here adds snap and definition. the way you play. rolling off the highest frequency your console 3kHz–5kHz. Adding a little boost around Let’s assume the song calls for a fairly stan- allows (usually 10kHz or above; sometimes a 4kHz can open up the sound slightly—but fin- dard bass sound and you’re playing with your high-cut switch will do this). Note that even ger noise might get overpowering, especially fingers. First, experiment with the low-fre- though the bass does not put out much energy if you’re using compression. If you want to quency settings. A typical adjustment is to above 10kHz, rolling off these frequencies may boost in this range, listen to the bass part all boost a bit at 100Hz or 150Hz. Play a groove start to remove some air from your tone. the way through first. that uses all the strings but favors the low ones. Playing with a pick typically produces less 5kHz–10kHz. Boosting this region doesn’t Boost 100Hz by 2dB–3dB and listen. If this adds bottom and a brighter top. If you want a more add much (other than finger and string noise) a “friendly” bottom without increasing the fingerstyle-like sound, cut a few dB around unless you’re going for a bright slap sound. But amplitude too much, fine. If the sound gets 2kHz—that’s the frequency region of the pick’s remember, there are no rules—so if this works kind of muddy (i.e., the notes lose definition) bright attack. Also consider boosting at for you, great. but you like the lows, try adding 2dB–5dB at 100Hz–200Hz, since the pick does not get as 10kHz–20kHz. Basically the same as the 800Hz with the midrange control. This brings much natural low end as fingers. With a pick, 5kHz–10kHz range, but boosting at 10kHz can up the harmonics, which helps define pitches. boosting at 800Hz may not be necessary, as add a little air to your sound. If the string noise Go back and forth between 100Hz and 800Hz the pick usually provides plenty of high-fre- is not too bad and boosting here sounds good, and find a good balance. quency definition. go for it. Second, you may want more upper har- Thumbstyle playing usually sounds best monics for brightness and snap. If so, try adding with a scooped tone, where the lows (250Hz A TYPICAL a few dB at 1.5kHz–3kHz. and below) and highs (2kHz and above) are EQ APPLICATION Third, check for noise problems, possibly boosted while the mids are cut. This “smiley Consider what kind of bass sound will be due to an active direct box or active onboard face” EQ curve is best achieved with a graphic appropriate for the song, not just what electronics. If you’re recording to an analog tape equalizer.

Compression

compressor/limiter is one of the 100 most important tools for recording 50 bass. This type of signal processor

alters dynamics; for example, it can 0 makeA a wide-dynamic-range signal more com-

patible with recording media that has a narrow AMPLITUDE 50 dynamic range (such as cassette tape). And since bass has such a wide dynamic range, 100 0 100ms 200ms 300ms 400ms 500ms 600ms compression increases punch and audibility, makes the instrument easier to balance in the Fig. 4—A decaying string. Note how the amplitude starts off strong and then decays to nothing. mix, and increases sustain of long notes. Com- pressor/limiters are not miracle workers, 100 though; they cannot make your strings vibrate 50 any longer, compensate for dead strings, or fix

instruments with poor sustain characteristics. 0

HOW COMPRESSOR/ AMPLITUDE 50 LIMITERS WORK A compressor evens out dynamic-range vari- 100 0 100ms 200ms 300ms 400ms 500ms 600ms ations by amplifying soft signals and attenuating loud signals, resulting in less level Fig. 5—Compression attenuates the peak somewhat and amplifies the decay.

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TrackIt! A COMPREHENSIVE GUIDE TO RECORDING BASS

0

–2 100 –4

50 –6 –8 threshold

0 OUTPUT –10 –12

AMPLITUDE 50 –14 –16 100 0 100ms 200ms 300ms 400ms 500ms 600ms –16 –12 –8 –4 0+4+8 –14–10 –6 –2 +2 +6 INPUT Fig. 6—After limiting, anything above the threshold (set here to 50) gets clamped to that thresh- old. Lower-level signals are unaffected. Fig. 7—This graph shows how input, output, ratio, and threshold relate. The threshold is difference between your softest and loudest the highest peaks) is lower. When the signal set at -8dB, with the compression ratio at 4:1. notes. A compressor incorporates a high-gain drops below the threshold, the compressor If the input increases by 8dB, the output preamp and a control circuit that alters the leaves the signal alone until it exceeds the increases by only 2dB. preamp gain based on the compressor input. threshold again. Typical threshold settings for As the compressor’s audio input increases, the bass are –2dB to –5dB, although the threshold The output level control is pretty self- control circuit senses this and turns down the can get down to –15dB for more extreme appli- explanatory. Since we’re squashing peaks, we’re preamp gain to maintain a more consistent cations. Raising the threshold results in less actually reducing the overall peak level; increas- output level. Fig. 4 shows the normal ampli- compression and sustain and lets more signal ing the output compensates for this perceived tude of a decaying string; Fig. 5 shows the same peaks through. volume drop. Turn up this control until the signal after compression. Ratio sets how the output signal changes peak levels of the compressed signal match the A limiter is similar to a compressor; it also in relation to the input signal, once the input peak levels of the bypassed signal—in other restricts dynamic range but affects only the signal exceeds the threshold. Higher ratios words, until there’s unity gain between the signal’s peaks. A limiter prevents a signal from mean more compression and a more input peaks and output peaks. Bringing up the exceeding a certain level, leaving quieter pas- “squeezed” sound. For example, a ratio of level usually adds noise, especially with a sages untouched (see Fig. 6). Limiting is worth 2:1 means that increasing the input signal budget compressor. For more level with less trying, but is not as universally applicable as level by 6dB yields an output increase of only noise, try adding gain at the board, which prob- compression. It’s often used with PAs to pre- 3dB. In other words, for every 2dB of input- ably has quieter preamps. vent speaker-damaging distortion, and it’s also level increase, output increases by only 1dB. Some compressors have a hard knee/soft used with digital recorders, which have a fixed (With a 3:1 ratio, increasing the input signal knee switch, which controls how sharply the ceiling level the input level must not exceed. by 6dB increases output by 2dB.) A typical amplitude curve changes at the threshold. With When recording, limiting often yields a smaller, ratio starting point for bass is 3:1. Extremely soft knee, when the input nears the threshold, more “squeezed” sound. high ratios clamp the output level to the the compression ratio gradually increases as Most modern dynamics processors can threshold, essentially turning the compres- the input increases. With hard knee, as soon compress and limit, hence the term compres- sor into a limiter. as the input signal crosses the threshold, it sor/limiter; for simplicity we’ll just use the term Attack determines how long it takes for the undergoes the specified compression amount. “compressor.” compression to kick in once it senses an input- Hard-knee action creates more punch; soft level change. Longer attack times let more of knee may work well if the level variations are COMPRESSOR/LIMITER a signal’s natural dynamics through, but those extreme, as it preserves dynamics better. PARAMETERS dynamics do not get compressed. If it’s really Two-channel compressors usually have a A typical compressor has several parameters important to reduce sharp peaks, use a short link switch, which changes the operation mode that often interact (see Fig. 7)—after adjusting attack time; for more natural-sounding tran- from dual mono to stereo. Linking the two one parameter you may need to go back and sients, use a medium attack of 20ms–40ms. channels allows one channel’s changes to affect tweak another. Decay (also called release) sets the time the other channel, which is necessary to pre- Input level adjusts the signal going into the required for the compressor to “let go” of the serve a stereo image. This feature has compressor. It’s important not to slam a com- signal once the input passes back below the applications for mono bass signals, too. pressor with too much input; even though the threshold. With short release times, the com- signal is being compressed, it’s still possible to pressor tracks even very slight level changes; if METERING clip (distort) the electronics. this results in a choppy sound, increase the Most compressors have two meters, or one Threshold sets the level above which sig- release time to smooth things out. 125ms–250ms meter that’s switchable between two modes. nals will be compressed. With a lower threshold, works well with bass. Some compressors auto- Gain reduction shows how much the signal is more of the signal crosses this threshold, so matically set the attack and decay times; while being compressed. The needle on an analog more of the signal is compressed; as a result this is convenient, you don’t get as much con- gain-reduction meter normally sits at 0 VU and the output dynamic range (and the levels of trol of dynamics. swings to the left to show how much the signal

46 THE MUSICIAN’S GUIDE TO RECORDING discmakers.com/RecGuide DM_track_bass.qxd 12/13/10 4:58 PM Page 47

COMPRESSION DO’S & DON’TS

Compression can be like a mischievous god of Greek mythology. It can bestow upon you a bounty of grace, riches, and stature, or it can wave a dismissive hand and transform you into a turnip. And, as with dealing with those bipolar deities of Mount Olympus, the key to happiness is always keeping well within compression’s favor. Using too much—or too little—compression on a bass track can absolutely affect the quality of the instrument’s level is being compressed. For example, if the tone, vibrancy, and drive. You can enhance the player’s subtle performance gestures, or meter reads –5, that means the signal is being you can ruthlessly destroy all evidence of musical dynamics. And here’s the kicker: In compressed by an average of 5dB. (Analog these endeavors, you control your own fate. You can’t blame Zeus for your mix misfor- meters read average—not peak—gain reduc- tunes if you’re the one squashing the life out of a once-fabulous bass performance. Here tion, so short transients don’t register.) With are some templates for keeping the compression gods on your side. most digital meters, when there is no compres- sion, the LEDs are either all on or off; applying ROCKIN’ PULSE more compression either lights more LEDs to Effect: A meaty and consistent throb that can move SUVs, aircraft carriers, and small moun- the right or turns off LEDs going to the left. Dig- tain ranges. ital meters tend to read peak rather than average Basic Settings: Ratio at 4:1, fast Attack, medium-long Release, Threshold at –6dB. levels, so even short transients register. DO: If you want the groove of a rock or dance track to explode out of the speakers to get The output meter shows the signal level booties shaking. coming out of the compressor; this meter might DON’T: If you want the player’s touch and dynamics to be experienced by the listener. be switch-selectable to monitor input level as well if there isn’t a separate input meter. With THE GIRDLE this display you can tell how much output Effect: A subtle tightening of the low end. you’ve lost by adding compression, which Basic Settings: Ratio at 3:1, fast Attack, short Release, Threshold at 0dB. makes it easier to set the output level control DO: If you want some relatively consistent thud, but also wish to spotlight the player’s phras- correctly. For example, suppose that without ing and dynamics. compression your input signal hits 0dB on the DON’T: If you tend to get all sweaty and nervous when the low end isn’t pounding as force- highest peaks. With compression you notice fully as a mammoth taiko drum. the output has now dropped so the peaks don’t register above –3dB. In such a case you’d turn FREEDOM! up the output gain until the peaks once again Effect: The low end ebbs and flows with the gestures and attack of the player. hit 0dB. Basic Settings: Ratio at 2:1, medium-slow Attack, fast Release, Threshold at 3dB. DO: If you’re tracking jazz, world music, or any other genre that depends on the musical- ADJUSTING THE ity of the performer to deliver a journey through the low-end dynamics. PARAMETERS DON’T: If your track requires a consistent and forceful low end. Let’s assume your compressor has separate threshold and input level controls. Start the input FUNKY STUFF level control at 0dB. For now, adjust the com- Effect: Pop and slaps move the groove, while the low end stays consistent and solid. pression with the threshold control only; start Basic Settings: Ratio at 4:1, medium-slow Attack, medium-slow Release, Threshold at –2dB. with threshold set to 0dB, meaning anything DO: If you want those barrages of funk wonderfulness to dance around your track. under 0dB will not be compressed. While play- DON’T: If you feel the pops are too distracting. In which case, you may want to switch to a ing, check the gain-reduction meter and reset faster attack and a higher threshold in order to tame to dynamics more aggressively. threshold to average about 2dB of compression, —Michael Molenda with no more than about 5dB of compression on the peaks. If the peaks’ output level is less than the input’s, use the output level control (not input level) to trim it up to unity gain. sounds. You can certainly take this approach decibels—where the compressor is activated. If you need more compression to make with compressors, but I’d recommend a quick Ratio: Don’t be frightened—it ain’t algebra. notes sound more even, lower the threshold; get-to-know-you session with the basic param- This control simply determines how much the this way compression will kick in with lower eters. input level is smacked down in favor of the out- level signals. But be careful—too much com- Attack: This control sets the time it takes put level (or amount of compression). For pression can squash and thin out your sound. for the compressor to react to the input signal example, a 2:1 compression ratio means that Use the compressor’s bypass switch (if avail- and reach its maximum processing level. Fast for every 2dB of input you’ll get just 1dB of out- able) to compare the compressed and attacks can catch percussive explosions, slap put. A 10:1 ratio gives you 1dB of output for non-compressed sounds. You may find just a them down, and let you crank up the overall 10dB of input, and so on. little compression gives the desired effect. level of the track. Output: Okay, I’m aware you know what Release: Once the compression is activated, “output” is, but in the world of compression SOME BASICS this control determines the amount of time this is also referred to as “make up gain.” The I’ve always been the guy who doesn’t read gear the compressor keeps working on that input grooviness of this control is that it allows you manuals. I just dive right in, spin knobs, and signal. A long release time can goose sustain to compress a signal to taste, and then raise take my lumps for dialing in crap, or bask in considerably. the level of the compressed signal as desired the wonderment of some surprising and cool Threshold: This is the point—measured in without slamming your channel faders. ●

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Getting Your Music Out There

Why the CD Is Still a Crucial Music Media For Indie Artists

the world of digital music This fact makes it even more surprising when and forgotten about. People inherently love evolves, the debate over for- you hear that an indie act has decided to forgo the tactile quality of having something in their mats continues to evolve as making CDs because they feel “CDs are dead.” hands. It makes them feel better about having well. The question of the In a business with continuous travel and high spent their hard-earned money when they have CD’sAS lifespan as a viable sales tool is one of gas prices, giving up on 75% of your potential something tangible they can show for it. many topics that have been receiving a lot of sales could be the difference between touring That being said, CDs don’t always have to attention lately. Increasingly, the sales num- and staying home. compete with digital downloads, in fact, they bers for CDs have been falling off for the major Luckily for the independent musician both actually work very well in conjunction with label artists as the proliferation of both paid mediums are great revenue generators. In fact, each other. CDs sold at live shows often drive and free (pirated) online downloads becomes it takes the availability and advertising of both consumers and fans to artist’s websites where more prevalent. For the independent artist to successfully sell your music in today’s mar- they have the option of downloading other however, this trend doesn’t hold true. The ketplace. By giving fans and potential buyers content. Older libraries of work, bonus tracks, reliance on CD sales at live shows has contin- options you are providing them with the choice and slower moving titles will all benefit from ued to sustain (and even grow) the CD market to make a purchasing decision that fits com- the increased site traffic a CD can generate for independent artists, while providing them fortably with their buying habits. In other (which is made easy by clearly printing your with a viable method to generate income and words, you want to give your customers what web address on your CD packaging). Some exposure. These sales seem to come in large they want, and in this day and age some cus- unique promotions that combined the two part from displaced dollars that were once tomers want CDs, and some want downloads. have included offering a bonus track online, reserved for major label releases. When concerned with audio fidelity, an downloads with the purchase of a physical CD, Until a viable and efficient method for sell- MP3 is no substitute for a physical CD. High or including content on an enhanced CD that ing downloads at live shows is available, the compression rates on MP3s break down files takes the user to the artist’s website or MP3 public will need a physical format in order to so that they are smaller and take up less space download page where they can purchase other take home music. CDs are still the logical and on portable music players and computers. albums or singles. most widely accepted format to do just that. However, this compression also reduces the Downloads continue to be a fantastic tool In addition to their universal portability and audio fidelity. Most music listeners would for independent artists to build their fan bases. playability, CDs also offer independents the barely notice the difference when listening By promoting yourself online (possibly with a opportunity to market themselves through through tiny headphones, but when played in free download) you give fans an opportunity their packaging choices. Because much of the a car or on a home stereo system the differ- to get to know you. If you allow others to pass music industry is still largely driven by image ence can be noticeable. There are very along your download, more fans may get conscious consumers, the ability to distinguish discerning fans out there that want their music involved. And, of course, the more fans you yourself from, or align yourself with, the crowd to be of the highest quality available and will have, the more CDs and downloads you’ll even- is an ever-important factor. CD packaging still pay to receive just that. Offering CDs gives them tually sell. Downloads have virtually no affords bands that opportunity, whereas the opportunity to buy your music at the high- distribution cost, which makes them a great straight downloads lack in that respect. est level of clarity and fidelity available. Plus, promo tool. It may be hard to believe for a lot of people once they have the CD they can always import In the end it is always in the best interest of who are now familiar and comfortable with it for use on their portable music players. Then the artists to provide whatever formats they can the virtual world of music downloads that there they’ll have both versions. to ensure their fan base will be able to buy their is still a large contingent of society that isn’t. And since they have your CD, why not auto- music. In today’s music marketplace down- According to readily available recent sales sta- graph it for them? CDs give consumers a loads are indeed the hot topic, but CDs are still tistics, physical CD sales still outnumber physical reminder of your show and your band. generating most of the dollars for independ- downloads by a margin of more than 3 to 1. Think of it as a small billboard that constantly ent music sales. The savvy independent artist While the gap is narrowing, it isn’t narrowing prompts them to check out your music. With recognizes this and takes full advantage of both as quickly as some would like you to believe. MP3s it’s much easier to get lost in the file folder formats for as long the market supports it.

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CHOOSING A CD MANUFACTURER

pen any musician trade magazine and you’ll find dozens of ads • Will you supply finished art files formatted properly in the man- Ofrom audio manufacturers. The competing offers and promises ufacturer’s templates, or will you ask them to design your project? can be bewildering, and the jargon they use, such as “backprint,” • How many pages of a CD booklet or folder will you need to get “glass mastering,” “film output,” “four-color printing,” and “supplied your message across? design,” is tossed about as if every reader has worked in a manufac- • Aside from CDs, what other products will you need? How about turing plant. To further complicate things, one ad may offer a deal on posters, stickers, and postcards? quantity, another on design... how do you compare the offers to get Knowing this information will help you further narrow the field the most bang for your buck? We’ve taken some of the mystery out of of manufacturers. the manufacturing business to help you make the best decision. Next, get a realistic price and turnaround estimate from prospec- First, all legitimate manufacturers offer free catalogs or brochures tive providers. Remember, if you are using a broker, he/she may have with pricing and product information. Gather materials from sev- no control over the turnaround time. eral companies to start comparison shopping, and look beyond the Even after selecting a manufacturing house, beware of pitfalls. hype. Don’t assume everything will go smoothly, especially if you are work- Compare details: ing with a low-price provider. Don’t be afraid to call your representative • Are they all full-service plants that can create production mas- if you haven’t heard from him or her in a while. If the job is going ters, or will you be required to supply computer media for design, well, you will feel reassured, but if it slipped through the cracks, your and PMCDs or DDP’s for audio? You may find the seemingly inex- call will put it back on track. pensive advertised price isn’t anything close to what you’ll wind up Make sure you are given audio and design proofs and check them paying, and you’d have been better off with a full-service manufac- carefully. Make sure every word is spelled properly, that the song turer. sequence on your design matches your audio, and that it is laid out • Do any of the manufacturers on your list mostly handle runs of properly. Listen to your audio tests without interruption, checking 10,000 units or more? If so, your project will sit while their major- for any audible anomalies that were not present on your original label clients’ projects head to the front of the line. master. If you are paying for post-production services, make sure • Are prices clearly marked, from master formats you can supply, you are satisfied with the adjustments that were made. Be careful: without a lot of fine-print additions that can drive up your final cost? The approval process is your last opportunity to catch mistakes – if Do they provide free templates for your art files? you overlook any errors at this stage (even if they were made by the • You want a company that will manufacture a major-label-qual- manufacturer) they will end up on your final product. Once every- ity product. thing is to your satisfaction, approve your proofs promptly – delay Have they won awards in design or printing? Look at the sam- here will only delay the final delivery of your project. ples, are they appealing and professional-quality? Do they have client Pay attention to tax, freight, and over/under-run costs. Depend- testimonials and a list of famous clients? ing on where you live (or ship your merchandise), local sales tax • Do they offer the additional services you might need? Do they and/or freight fees may be added. If your manufacturer has a good offer a full range of products like Merch and promotional materials, quality control program, a certain number of “overs” (up to 10% is or will you have to put together a patchwork quilt of companies to standard) will be produced so substandard pieces can be rejected fill your order? without reducing your order. Find out beforehand how much overs • How long have they been in business? Are they financially sta- could cost you and budget accordingly. ble or could they go under before your album is finished? (It’s not Don’t confuse value with economy. In manufacturing, your deci- uncommon for bargain-basement manufacturers to declare bank- sion comes down to who will provide you with the most value for ruptcy and be unable to deliver product.) your purchase. Of course, how you define value is up to you. Help- • Is the work done in-house to ensure fast turnaround and good ful customer service, high quality control, quick turnaround, quality control, or is everything outsourced to who-knows-where? additional services (i.e. distribution, a UPC bar code, free marketing • What about after you get your CDs? Do they offer help with dis- and promotion guides, a guarantee of customer satisfaction, free tribution (digital as well as bricks-and–mortar) and promotion? Are master screening, additional print materials, etc.), location, and one- they set up to quickly process reorders when you need to replenish stop convenience all fit into the picture every bit as much as the price. your stock? It’s a common mistake for musicians, many of who have spent • Do they offer a 100% money-back guarantee? more time and money in the studio than they expected, to try to cut In addition to comparing vendors, determine your needs. Ask corners in manufacturing. Don’t sabotage your release’s chances of yourself the following questions: competing successfully just to save a few bucks. This is a major pur- • What medium will your master be on (CD-R, digital file upload, chase, one with a big impact on your career. While a reasonable price etc.)? is important, you really do get what you pay for.

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TrackIt!

Capturing the Boom and Bang of Drums Recording the Drum Kit

you’re looking for a “one size noises. If your studio was not built with a float- With a hardwood floor, when the player hits fits all” solution to recording ing floor (a second foundation over the first the drum the bottom head vibrates sympa- acoustic drums, forget it! supported by rubber and styrofoam, as used thetically. This directs a waveform toward the When it comes to miking and in most pro studios (see Fig. 1), a drum riser floor, which bounces back up and interacts EQing drums or anything will help isolate the mics. Even if the studio has with the vibrating bottom head to cancel or else, every recording engi- a floating floor, a drum riser may still be help- emphasize certain frequencies. Ifneer has different opinions and techniques. ful. (When constructing a drum riser, make To minimize this problem, angle the floor While that may seem chaotic, it’s also liberat- sure that it is solid and includes some type of tom slightly by lowering the triangular height ing: Never be afraid to experiment in your quest rubber on the bottom of all surfaces that rest rod—the one nearest the drummer—to taste for the ultimate sound, as there are no rules. on the floor. Cover the platform with rugged, (see Fig. 2). This causes the waves to scatter Recording acoustic drums defines the indoor/outdoor carpet.) somewhat. meaning of “give and take.” A common tech- If the drums will be set up on the floor itself, nique is miking each drum, so all the mics will a carpeted floor cuts down on reflections; a MIKING pick up leakage from each drum/cymbal but hardwood floor will allow sound waves to CONSIDERATIONS with a slight time delay. This delay can cause bounce back up into the drums, possibly caus- If the drums will be hit medium to hard, “comb filtering” (phase cancellation and addi- ing phase cancellations. Consider a floor tom you’ll usually want to enable the mic’s built-in tion), which alters the miked signal’s tone. The mounted in a standard vertical orientation: attenuation (“pad”) switch. This helps mini- less leakage the better, but it’s impractical to baffle other drums and cymbals within the set. A work-around to cut down on leakage is to use fewer mics, and try to capture the set with a couple mics on the set itself, and maybe some room mics. Another problem is that the drum head tun- ing will likely change over a relatively short period of time, due to the constant hitting of the drums as well as temperature changes within the studio environment. Keep lighting and air conditioning consistent, as they’re the main causes of temperature variations. Remember to check tom and snare tuning throughout the session. Fig 1.—Floating floor construction. Note how Fig 2.—With the tom set up vertically, sound ISOLATION the spacers (Auralex U-Boats) are placed to waves hit the floor and bounce back to the Isolate the mics from the floor as much as pos- isolate the floor support boards from the bottom head. Angling a tom slightly causes sible so that they don’t pick up any rumbling “real” floor. sound waves to scatter, and diffuses them.

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TrackIt!

mize the chance of distortion. drummer’s head, and point it straight down at stand base to the mic panel or recording con- Some condenser mics offer pattern choices. the bass drum pedal’s inner edge. But position- sole. There should be a very little mic cable With an omni response, the mic hears every- ing the mic is not enough: It has to be stable. slack at the mic stand base. thing — the front and back as well as on the Most mic stand bases can tip easily; if a mic hits If you are low on duct tape, cross the cable sides. The figure 8 response allows the front the floor, it may be permanently damaged. The in one foot strips about every two or three feet. and back of the diaphragm to be active but not bigger the mic stand base, the better. Artist tape or any thin tape will not do the job. the sides. Cardioid is directional on one side Anchor the mic stand with sand bags or any Keep the tape down tight, with no slack only, and is typically used for drums. Other stable, heavy object that will not slip or rattle between the tape strips. In areas where there patterns include “super cardioid” (very direc- (three sand bags in a triangular position works will be foot traffic, cover the cable totally with tional), which may be useful if you want to for me). The best weights have a handle in the duct tape. tighten up the sonic picture. middle for carrying. With carpeted floors, avoid duct tape (which Note that all of the following mic placement Now that the stand is solid, while position- leaves glue residue) and put something like positions are my starting positions. When lis- ing the mic, wrap the mic cable around the throw rugs over the cable. Bathroom rugs will tening to the mics to dial in the sound, always boom stand arm a few times and leave a little work in a pinch. Get some carpet remnants, move the mic around a bit to find the best slack at the back of the mic so the cord does- and cut them up to suit your needs. If you use sound. n’t pull at the mic and change its position. To carpet on a wood floor, make sure it won’t move Regarding mics, there are so many, and the keep the cord from moving, tie the cord to the (i.e., has a rubber underside) if someone walks landscape has changed so much in the past stand using removable cable ties (available at across it. few years with the advent of budget mics, that most electronic supply stores). Put a few cable Now that the mic stand and cable are we won’t even attempt to recommend possi- ties on the boom and a few on the main mic secure, and the cable is taped down, plug the ble mics; I’ll just mention a few personal stand, all the way down to the base. mic cable output into the appropriate mixer favorites and deal in generalities. One strategy Avoid permanent cable ties, or you will have or audio interface channel. As there typically for getting pointers on mics is reading inter- to cut the cable tie and throw it away when will be some cable slack at this end, “cable tie” views with producers and engineers whose putting away the mic and stand. Velcro cable after plugging in, then tape this down if some- work you admire, as they will often mention wraps, available from most pro and consumer one could trip over the mic cable. which mics they use for specific applications. recording supply companies, are costly but are also the best choice as they are easy to set up GENERAL EQ THE INITIAL and remove. In a pinch, you can use something TWEAKING MIC SETUP like Scotch tape. When you’re satisfied with the mic position, Once the drums are set up, start by using one Even though we’ve secured the mic stand experiment with the EQ. For more “bottom mic only — preferably a large capsule, wide- and cable, someone could still trip over the end” with the bass drum, toms, and snare, try range condenser mic. Otherwise, use your mic cable and knock over the mic. But there is boosting the low frequencies (e.g., +2dB at best-sounding dynamic or ribbon mic. a solution. 100Hz). Experiment with other frequencies With the mic placed on a boom stand, posi- With wood floors, use duct tape to tape (from 50 to 150Hz or so) to discover the best tion the mic about two feet above the down the mic cable on the floor, from the mic area for your particular mic setup. Typically,

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50Hz will not do much with distant miking, For less point, move the mic farther away from but 150Hz may be better than 100Hz in this the beater, meaning near the side of the shell situation. and pointing away from the beater. Experiment with the midrange EQ. 2kHz But also note that in these days of unlim- through 4kHz will make the snare “bite,” and ited tracks, it’s very common to place more the toms will have more of an attack sound. than one mic on the kick, and you’ll usually However, the cymbals may start to sound find a hole in the front head where you can painful with this added EQ. As mentioned, stick a mic. Steve Sykes (a brilliant engineer) recording drums involves tradeoffs. uses a dynamic mic inside the kick basically For the high frequencies, start with a very pointing at the beater. He also uses a Neumann slight shelving boost at 10kHz. You’ll notice an U47 FET on the outside head a few inches back, added sheen; the cymbals will get louder, and and a Yamaha NS 10 woofer speaker as a mic! all drums will sound brighter and more open. This adds the real lows (around the 60Hz range) Careful, though — your ears can get used to in this era of home and car playback systems the extra high frequencies, which means you’ll with extended low frequency response. He want to add more, but your ears get used to Fig 3.—This EQ shows a 2.1dB boost at 115Hz, positions the woofer to taste on the outside that, so you add more . . . a little high frequency and a 2.1dB boost at 10.5kHz. There’s also a head in which the low frequencies are thick — boost goes a long way. slight boost at 3.7kHz, and a very slight dip at simply move around until you hear the most A typical setting (Fig. 3) for one drum over- 410Hz to reduce a bit of room “mud.” natural low frequencies. head mic would be adding at least a few dB in When using multiple mics, though, slip the the low end (100 to 150Hz) and a few dB at 10 track for any mic set at some distance from the to 12kHz. head so that its phase lines up with the dynamic mic inside the kick. This is important to main- MIKING THE tain the fullest possible sound. KICK DRUM After experimenting with the kick drum mic A dynamic mic, which can handle loud sound placement, when you feel that it sounds good, pressure levels, is the typical choice. The reset the levels (if needed) and EQ to taste. Try Sennheiser 421 is popular, but try all the adding around 60Hz-100Hz to bring up the bot- dynamic mics at your disposal. Some people tom end. If the sound is kind of “boxy,” try use the Neumann 47 FET (condenser) mic. If cutting the EQ response a bit at around 300Hz- you use any condenser mic, it is crucial to real- 500Hz. To add more point, add a boost at 5kHz ize that the sound pressure may hurt the fragile or so. condenser diaphragm. The rule of thumb The kick drum may have a pillow resting regarding condenser mics is “use it only if you up against the inside bass drum head. Typi- can put your ear in front of the sound source cally, the pillow rests equally between the you will be miking without hurting your hear- Fig 4.—A typical setup when miking the tom bottom of the bass drum and the inside head. ing.” Because the kick drum sound pressure and bottom of a snare. This stops the bass drum from ringing (rever- and transient is strong, I highly recommend a berating) like a tom. The amount of pressure dynamic mic. of the pillow against the head defines the If the mic you choose has a bass rolloff tion the mic inside the bass drum about a foot sound’s “dwell.” During the ’70s pop music era, switch (bass attenuation), don’t use it! The back from the point where the beater hits. Now the pillow was packed against the head but rolloff (low end filter) might have choices like move left half way to the side, and angle at 45% these days, there are no rules — the kick sound “music” and “voice” or “M” for music and “V” towards the left rim. can go from a totally dead sound to wide open, for voice. There may be more than these two • If the kick has two heads, with a hole for with no pillow or padding. When using options, like Voice 1&2. The voice mode is surely miking, place the mic about one foot in and padding, anchor the pillow down with a sand a low frequency rolloff, so use the lowest num- angle slightly toward the left rim. bag or a non-reflecting heavy object so it does- ber music mode. When dialing in the sound, • If the kick has two heads and no hole for n’t move. experiment with any switches to make sure miking, place the mic about 6” back from the Drum tuning is crucial. If using padding, that you are getting the mic’s full frequency center, and slightly to the left. pull back the padding and ask the drummer range. All starting positions are just that. Finding to get the tuning “even” and as low as possible the best mic position involves finding the best without making the head too loose for the KICK OPTIONS compromise between getting as much “natu- beater. This is a touchy area. The drummer FALL INTO THREE ral bottom end” as possible without losing too needs to be comfortable with the feel of the CATEGORIES: much of the “point” (beater attack). Some like beater hitting the head. The experienced drum- • If there’s no front kick drum head, posi- a boxy or boomy sound with or without “point.” mer should know the sweet spot for the tuning.

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The room sound may help dictate the best tun- denser) on the bottom to pick up more of the for a smooth, big response. For the high and ing if you don’t use a pillow. “snare rattle.” Start by pointing the bottom mic mid toms, it’s best to use the same model mic. If the kick drum has one head, after getting up to the center of the snare drum bottom Set the boom stand for the high tom on the the kick drum sound to taste acoustically, put head, about 4” under. If the mic is a condenser floor in front of the kick drum/tom; position a packing blanket or any thick blanket over the with pattern selection, use super cardioid or the mic about 2” above the tom, and about 1” bass drum’s outer shell. This helps isolation. cardioid. in from the rim away from the drummer. Same Tape the blanket on the drum near the center This is a good place for a short mic stand, for the mid tom. Position the floor tom mic of the shell with duct tape or any strong tape, as fitting a boom stand in the area of the other stand on the floor and set in the same man- and let it hang on the floor over the outside of stands will be tight. Small stands usually have ner. One reason for setting the mics fairly close the kick. If you’re not using a pillow, and will a small base, so secure it with sand bags and is that the “proximity effect,” which accentu- be using room mics, you may not want to use maybe duct tape too. A gooseneck stand ates the low end, will be a good friend if you the packing blanket. adapter may work — but the gooseneck will want a full, deep tom sound. move easily if the mic cable pulls on it. If the drummer has the cymbals positioned MIKING THE SNARE When using a top and bottom mic, note low and close to the toms, grab each cymbal Typically, a dynamic mic (like the “old standby” that when two mics face each other so the top and move it on its axis to see if it will hit the Shure SM57) does the job. There are many mic diaphragm sees the air moving away when mic or stand. If there’s no way to avoid the cym- options to explore, as most dynamics will the snare is hit, while the bottom mic sees the bal hitting the tom mic stand or mic, as a last sound anywhere from usable to great on a air coming toward the diaphragm. This causes resort you now have to ask something drum- snare. Condensers are used sometimes, but phase cancellation. The fix is to reverse the mers usually don’t like to hear: “Please move watch out regarding mic placement. If the phase on one of the mics. In this case, reverse the cymbals up a taste.” An experienced player drummer accidentally hits an SM57, this is a the top mic. (Note that you should also reverse will adapt if necessary. drag but the replacement cost is cheap in com- the phase of all mics on drums that are miked parison. from the top of the sound source — the only CYMBALS My favorite condenser for snare is the Sony mic that sees correct phase is the kick — air Condenser mics are the norm. I like AGK 414s, 37A tube condenser mic. Yes, this breaks the moving towards the diaphragm at initial but most any good condenser pair will do the rule regarding sound levels with condenser attack.) trick. Neuman, Telefunken, and AKG are typi- diaphragms; but if this mic sounds best after cal brands of this era as well as past eras. Avoid trying many mics, I cross my fingers and hope MIKING THE HI-HAT mics with a built-in 2kHz bump (build up) like it survives the session. Many condensers will work. Small diaphragm the SM 57; this is one application where this You’ll need a mic “boom stand” for the condenser mics are the usual choice. The AKG mic is not recommended. If you must use the snare. As with all mic stands for the drum mics, 451 or 452 are both fairly common. If the mic SM 57, when “dialing in the sound,” use the EQ a big base or triangular base (three legs) is best. has a low end rolloff filter, you may want to use to roll out a few dB at 2kHz or so. Position the mic stand between the hi-hat and it as you do not want bottom end (low frequen- When positioning the two overhead mics, kick drum, with the boom extended to the near- cies) from the hi-hat mic. If you will use be very careful that they don’t fall down as the est edge of the snare rim. Now move the boom something other than a condenser mic, use a booms will generally be extended to full length. in order to position the mic about 2” over the mic that sounds “small,” “tight,” and bright. Secure the mic stands as soon as you’ve set the rim edge, and move in about 2” in toward the Set the mic boom stand so the mic is position. center of the snare head. Adjust the mic cap- directly above the shaft of the high pedal, then As mentioned previously, I look at drums sule to point at a 45º angle toward the drum back away from the drummer half way to the from the audience perspective (floor tom at head (Fig. 4). outer edge of the hats. The mic should point the left, hi-hat on the right). In this case, posi- Ask the drummer if the mic is in the way, straight down and about a foot above (Fig. 5). tion the left overhead boom mic between the i.e., it would be possible to hit the mic when As always, you will want to move this mic center of the ride and crash cymbal about 2–3 playing. If so, back it up until the drummer around while dialing in the sound. feet above. Start by pointing the mic straight feels the mic is out of the way. down. Moving the mic closer to the drum head MIKING THE TOMS Position the right overhead over the crash picks up more low end. The ’80s-era mic place- This is an area where dynamics and condensers on the right side, with the same basic place- ment was around 1” away from the head to get are used about equally. With dynamic mics, use ment. If there’s more than one crash on this the “proximity effect.” Around 3” is typical these ones with a fair amount of low end response. side, go between the cymbals as on the oppo- days but as always, move and experiment. If The Sennheiser 421 is a good choice but watch site side. Position the mic stand on the floor the mic has a bass rolloff, don’t use it — you out where you place it, as the mic is large and near the hi-hat mic stand. can always trim the bottom later with the con- may get hit by a drum stick or wobbling cym- If the drummer hits the crash cymbals hard, sole EQ. bal. SM 57s are a possibility, as are many others. and they’re fairly loose on the cymbal stand, Some people mic the snare on top with I like small capsule condensers (AKG 391 or they will wobble and you will hear this wobble something like an SM 57 and use another mic 451/452) on rack toms, and large diaphragm in the mics. A little wobble sounds natural, but (typically a dynamic or small capsule con- condensers (AKG 414 EB) on the floor tom(s) extreme wobble will sound like the cymbal is

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almost canceling out during the travel when the head in relation to the center of the snare head, cymbal edges get near 90º away from the mic. use that same measurement for the right over- A possible fix is to angle the mics at about 45º head mic, meaning move the right overhead in towards the center of the cymbals, but this mic up/down, or slightly change where the may not totally fix the problem and is not a good cymbal is miked, to achieve the exact same position for the overheads in general. The best length to the center of the snare head. This will fix is to ask the drummer to tighten the cymbal minimize snare comb filtering/phase cancel- nut to cut down on the wobble. lation in the overhead mics. If the drummer uses more than four cym- bals, and if the ride cymbal is used instead of ROOM MICS the hi-hat as the constant time keeper, you This area is tricky. Room frequency “build-ups” might need to add another mic for the ride and “suck outs” have a major influence. Con- cymbal if it’s not loud enough in the overhead densers are the typical choice but each room mic compared to the crash cymbals. Again, a sounds different, so try every mic that’s left small diaphragm condenser works well. over. It’s a good idea to use two of the same Position the mic above the center of the model with the overheads. Fig 5.—Miking a hi-hat. ride cymbal, looking straight down and about You might think an omni pickup pattern a foot above. Move in half way between the would work well, meaning the condenser mics center and the inner edge of the ride if you would hear behind as well as the sides. Maybe, room mics. want more “ping” (drum stick sound). but I use cardioid most of the time. Start by It is possible to use more room mics, espe- Which is the main overhead mic? Typically placing the mics about 15 feet in front of the cially if the room is big with high ceilings. If the one with the ride cymbal, so let’s say left drums, about four feet above the floor. Spread this is the case, for high distant miking, try the overhead. Take a piece of string (or a mic cable, apart the mics around eight feet or more, using Neumann M50 (nickel capsule is best) which whatever) and hold it against the center of the the bass drum as center. is designed to be a room mic. This mic sounds main overhead mic diaphragm. Put the other This is what works for me in my studio, but bright even when distant from the sound end of the string in the center of the snare head. every studio will have “sweet spots” so exper- source. It’s a hard mic to find, but it’s great for Now that you know the distance of the left over- iment! Even a “semi-dead room” might like this application. —Jay Graydon The One Kit, One Mic Approach

t’s a fair assumption that some recordists ber, where he talked about recording late ’50s THE SETUP are challenged by tracking drums in their and early ’60s rock and roll singles. Back then, Whether you record drums with one mic homes or rehearsal spaces. Even if noise one mic often recorded everything, and the or 20, you need to ensure the acoustic envi- isn’t a particular concern (whether that’s trick was putting that mic where it docu- ronment where the kit will be recorded is as Iincoming or outgoing noise, or both), deci- mented all elements—from drums to vocals sonically pleasing as possible. As we’ve said sions over how many mics to use—and which to guitars and piano—clearly and cleanly. Clark many times, one can’t expect a home studio to mics to use where—in order to capture the described a session for Bobby Pickett’s “Mon- offer the same level of marvelous acoustical most powerful drum sound can be daunting. ster Mash,” where the drum kit was set up on spaces as a big-buck commercial facility, but After all, a clean, clear, and mammoth drum a rug, and if the drums were too loud in the you can at least check your room for obvious sound drives your track, and it also provides a mix, the technicians grabbed the rug and anomalies such as flutter echoes, weird slap- healthy chunk of the song’s tonal and dynamic moved the entire kit further back from the backs, low-end resonances, and dead zones. foundation. If you blow the drum sound, you microphone. If the drums needed to be louder, If any sonic gremlins threaten to tank your can seriously damage the power and seduc- they tugged the rug until the kit was closer to drum sound, either move the kit to a better- tiveness of the entire production. the mic. This certainly sounds hilariously pre- sounding space, or start laying absorptive But what if you didn’t have to stress out over historic by today’s studio standards (or, heck, materials (blankets, pillows, rugs, commercial the placement of multiple mics? What if you even 40 years of yesterdays), but if you listen absorptive foam, etc.) around until the room used just one mic? to classic ’50s ravers such as “Train Kept-A- starts sounding more transparent. Try to avoid I’m not trying to be crazy or provocative. Rollin’,” “Rock Around the Clock,” and “That’ll positioning the kit too close to adjacent walls The one-mic approach could actually be a fun Be the Day,” you can absolutely hear every as you’ll risk forming sonically problematic and viable approach for recording explosive swack, boom, crash, and sizzle of the drums. standing waves within the close acoustic quar- drum tracks. Years ago, I was reading Dick There may be genius in simplicity, here! ters. Hard surfaces such as tile floors or picture Clark’s autobiography Rock, Roll, and Remem- windows can produce amazing reflections, or

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GETTING BIG BOOMS IN SMALL ROOMS

ecording huge drum sounds in a home studio is something big smack or punch. Rlike The Ultimate Struggle. You typically don’t have fabulous Finally, position a mic in front of the kit, three feet away, and at microphones, and the recording space is usually your dining room, about the height of the drummer’s chest. This mic will capture the living room, or garage. So you may decide to go the loop-and-sam- overall sound of the kit, as well as some nice room ambience. If ple route, royally pissing off your (hopefully) loyal drummer, and possible, keep the ambience to a minimum. A little is cool, but too causing the band to perhaps revise all the parts the members had much may wash out the drum sound, and we need to get maxi- worked out to groove with the drummer’s feel and his or her spe- mum impact from the three mics we’ve used. cific input into the songs. You don’t have to do that—unless you want to, that is. PROCESSING It is totally possible to get some bombastic drum sounds at At this point, your unaffected drum sounds should be tight, clear, home with less-than-insanely expense microphones if you follow clean, and punchy. If not, reposition the mics until you hear some a few simple recording and processing guidelines. You can record slammin’ tones. Try to avoid using EQ, but if you hear too much your songs the way you’ve always played them, keeping your drum- mud or edginess, go for subtractive EQ at the offending frequen- mer rocking to the material the band has worked on together, and cies. In other words, try to cut, rather than boost, but do whatever retaining that wonderful vibe that occurs when a good band plays is needed to make the drums rage. a good song. Here’s one way to go about it. . . A decent compressor or compression plug-in will help dial in punch and impact. Set compression to taste on each track (a good MICROPHONES start for aggro sounds is a 4:1 ratio at a –10dB threshold with a fast Don’t worry about them. Great mics are wonderful, but if you don’t attack and release), but route the compression returns to dedicated have them (or can’t borrow them), don’t sweat it. Except for almost stereo tracks. At mixdown, you’ll want to be able to blend the uncom- toy-like models, most mics can at least deliver a clean and rela- pressed drum sound with the compressed sound to taste. It’s kind tively clear sound. of like “doubling” the drum track, although this trick works best Start with the snare. Find a suitable dynamic mic, and position when the compressed sound is just audible enough to add punch. it about a half inch off the drumhead, pointed from the drummer’s Now, let’s go after some John Bonham-style ambience. Find a left arm towards the kick pedal. Look for a relatively dry and clean nice room or hall program, assign it pre-fader to the “room-mic” swack. The next critical element is the kick drum. If all you have is track (so you get all effect and zero dry source sound), and, once another small- to mid-sized dynamic mic, don’t sweat it. Larger again, return the reverb signal on separate stereo tracks. You’re models, such as a Sennheiser MD421 or an AKG D112 can capture working with some big wet stuff, and you don’t want to wash out great wallop and boom, but even a Shure SM57 can give you enough the drums. The trick is to subtly fade in the reverb so that you ini- kick attack and bass to serve up a rockin’ drum sound. Tighter kick tially hear the dry-ish impact of the kit, and then perceive a beautiful sounds can be achieved if the front head is off (or if there’s a “mic decay in the background. If everything works out right with your hole” cut into the head), and more boomy and resonant sounds blends of source sound, compression, and reverb, you should get are produced when the head is left on. Start by positioning the mic a marvelously articulate punch that sounds Zeppelin big—and all somewhere near the midpoint of the drum shell, and angled inward recorded in your home with three mics and some studio magic. — towards the rear head. Amend the positioning until you get a nice, Michael Molenda

they can blitzkrieg your tracks with tinny pings just kidding! It’s easy to move one mic (and mic positions I’ve used include: and other tone killers. Listen critically to test stand) around your kit, and it’s fast, too. You’re • Large-diaphragm condenser ten feet back recordings before deciding whether you’ve put not worried about skewering phase relation- from kick drum, and positioned to the height the drums in the best possible environment. ships by placing multiple mics too close to each of the drummer’s chest. Nice thud and boom Don’t be lazy. Any time spent crafting a great other, or sweating over optimum stereo per- from kick, a meaty snare, and tight cymbals. acoustic space for your drums will be rewarded spectives, or even getting tangled up in mic • Small-diaphragm condenser positioned with fabulous sounds. The quickie, I-don’t-care cables. Bliss. drummer’s head at about ten feet high, cen- approach may deliver nothing but rather unus- The mic. Any model should work fine. Con- tered between floor tom and hi-hat, and pointed able cacophonies of percussive foulness. densers tend to be more detailed than down at snare. More highs and cymbal sizzle, dynamics, and ribbon mics typically deliver bright snare, and snappy attack on kick drum. GOING SINGLE more organic tones, but if you place any mic • Dynamic mic placed a foot behind drum- Once you have the drums set up in a reason- in the sweet spot, your drums will rage. mer’s right ear, pointing toward hi-hat side. able acoustic space, you can agonize over Mic placement. There’s no wrong move— Great mids, nice rumble to toms and kick, where to place that single microphone. Um, just whatever sounds good to you. Some punchy snare. —Michael Molenda

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Get Five Different Drums Sounds from One Kit

you want to deliver a drum hat across the snare. two further away from each drum. For the kick sound that catches listeners’ drum, position the mic in front of the hole you ears and intensifies rhythmic DRY AS A BONE cut in the head at a distance of a couple of impact, you’ll have to be ver- For this popular sound that originated in the inches. Experiment with whether you like the satile, flexible, and up to the ’70’s, set up the drums in a small, dead-sound- sound produced by positioning the mic task of pulling different ing room with low ceilings. This environment straight-on, or angled slightly away from the Ifsounds from the one kit your drummer prob- will effectively capture a tight and percussive head. Also keep in mind that a fair amount of ably brought to the session. Let’s say the drum sound with minimal amounts of room air is going to be rushing out of that hole, so drummer is using a standard, five-piece set artifacts such as “ringing” or odd slapback you may need to pad the mic to avoid signal consisting of a 22"x16" kick drum, a 14"x5.5" echoes. Remove the front head from the bass overhead or a woofy sound. To intensify this snare, a 12"x8" rack tom, a 13"x9" rack toms, drum, as well as the bottom heads from all of open-room perspective, place two large- and a 16”x16” floor tom. For cymbals, he has the toms. Dampen the snare and tom heads diaphragm condensers in different corners of 14" high-hats, a 22" ride, and 18" and 19" until they “thud,” cutting down on clear notes the room. You can move these two mics around crashes. and ring. You can make like the Beatles and to taste, listening carefully to ensure you’re So how do we get five completely different employ tea towels to deaden the drums, or you capturing the sweet spots in the room (where sounds out of this setup? First, you need to deal can simply gaffer’s tape some paper towels to the combination of ambience and source with tuning the drums. Knowing how to tune the offending heads. Fill the kick drum with sound is thrilling), and that you’re not intro- drums is as important as knowing how to play. pillows or dirty clothes—just enough so that ducing any phase-cancellation problems that If the sound isn’t right coming off the drum, it the attack is tight. Loosening the heads can will thin out the drum sound. will be a lot harder to get the sound you want, further deaden the sound. and no microphone or signal processing can Kick drum. Put an Electro-Voice RE-20, an BOOM BOOM ROOM magically compensate for poorly tuned drums. AKG D-12, a Sennhesier MD421, or similar Using the same mics and mic positions On the upside, a single drum can produce an large-diaphragm dynamic inside the drum. employed for the previous setup, open up the amazing array of sounds to compliment what- Cover the front of the kick drum with a piano tuning, and let the drums bark. Overtones and ever style the music demands. So don’t be afraid blanket (or any thick, large blanket) to control leakage be damned as with this approach— to experiment with different tunings until you signal leakage. you want to prove the big bang theory. Now, find the one that knocks you out. Snare. Position a Shure SM57 or Beta 57A add a single large-diaphragm condenser down close to the head, and angled away from the a hallway or in the next room—wherever the THE NATURAL hi-hat. sound can travel that will produce a bright Let’s begin with an approach that is sparse and Toms. Place large-diaphragm condensers ambient timbre. This is your “power mic.” At quick to set up, and one that you’ve heard on about 2" from the heads. mixdown, you’ll blend in this track to intro- a ton of hit records. As this setup utilizes only Overheads. Position a matched pair of duce a huge and ungodly cacophony to the four microphones, it does require a player with small-diaphragm condensers left and right, overall drum sound. Of course, when you’re finesse, as well as a room that has a smooth, aimed at the cymbals. recording, make sure the drummer beats the balanced ambience. Dynamics are key, so work Hi-hat. Place a small-diaphragm condenser living daylights out of the drums, and doesn’t with the drums (and drummer) until they pro- 3" or 4" from the hi-hat to get a more “direct” get meek and mild on you. duce a consistent volume level, and listen sound than the ambient hi-hat sound that will closely to the drums/cymbals ratio to ensure be picked up by the overhead mics. SEPARATE BUT EQUAL the relationships are pretty even. Now, let’s break all the rules, and try record- Kick drum. Set a large-diaphragm dynamic ROOM TO BREATHE ing one section of the drum kit at a time. Pick mic a few inches from the front head. For more This is a “roomier” sound that can be achieved the mics of your choice and go nuts with the boom, point the mic at the middle of the head. with the same mics used for the dry sound. First, mic positions. Yes, you are going to individu- For more punch, offset the mic about 60 to 75 replace all the bottom drum heads on the toms ally record the kick, snare, toms, and cymbals. degrees. and the front head on the kick drum. Cut a 3” Yes, your drummer may freak out at being Snare. Point a trusty Shure SM57 (or simi- or 4" hole in the kick-drum head slightly lower asked to play his or her snare part independ- lar dynamic mic) right at the head, and away than the middle of the head, and off to one side. ently, then the kick part independently, then from the hi-hat. You’ll need to retune the drums to taste—I rec- add the tom figures independently, and finally Overhead one. Position a large-diaphragm ommend letting the tone open up so that the track the cymbal and hi-hat parts. And, yes, condenser (set to its cardioid pattern) about drums sing as well as bang. Some dampening this is a wild way to go, but it has worked for three feet above the kit, pointing at the rack may be needed on the toms and snare, and if many producers and engineers—just check toms and snare. the resonance or ring on the kick drum is too out most of Jeff Lynne’s productions. Obvi- Overhead two. Place a large-diaphragm much, remove the head, place a pillow inside ously, this approach will take longer to record, condenser (set to its cardioid pattern) about the shell, and then replace the front head. but the mixing possibilities are endless. —Scott six feet above the floor tom, and facing the hi- Now, move all of the mics about an inch or Mathews ●

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Mix It!

34 Steps to Crafting

Dynamite Mixes Photo By Suzi Roks 20 Questions You Should Ask Yourself

Can you hear everything? This seems music, the minimum requirement for a good Can you understand the lyrics? If you obvious, but sometimes a musical part mix is that you can hear all the instruments and can’t tell what the words are in certain gets hidden. While the mix is playing, lis- vocals—nothing is missing and nothing sticks spots, raise the vocal level with a vol- ten just for the sound of each track, and out. Sometimes you need to mute or turn down ume envelope (automation). Also, you 1make sure it’s there. No matter the genre of some tracks to make a hidden track come out. 2might compress the vocals, make sure they

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have enough clarity around 5kHz–10kHz, and mixing. Switch back-and-forth between your the reverb-send level, add harmonies, increase maybe reduce the level of instruments that mix and the CD playback. You’ll quickly hear the panning width, and so on. compete in the same 3kHz–6kHz range as the if your mix has enough bass, midrange, and Is the mix creative and exciting? vocals. Don’t overdo vocal effects. Some engi- treble compared to the commercial CD. This Are you employing unusual neers use this guideline: The lead vocal in rock can be very enlightening. effects or instrument sounds? Or music should be just loud enough so you can Are the vocals too sibilant? Are the “s” 15are they like everybody else’s understand the lyrics without straining. In bal- and “sh” sounds too piercing and record? Try to do something different, but taste- lads, traditional country, or folk music, the lead annoying? Some singers are very sibi- ful. vocal can be a few dB louder than that. 9 lant, or the mic used on the singer is Are solos at the right level? Gen- Is there too much reverb or other too bright. Solutions: Use a de-esser, which is erally, a guitar solo should be just effects? A little goes a long way. If the a multiband compressor set to compress only as loud as the lead vocal. Guitar mix seems to be distant, rather than the range from about 3kHz–20kHz. A high-fre- 16licks in the holes (vocal pauses) 3present and engaging, try adding quency cut around 7kHz–10kHz helps. too. should be quieter than that so they are not too about 25ms of predelay. Also try reducing the Are the vocals too loud or too distracting. reverb sends a dB at a time, and see how little quiet sometimes? Either apply Does the mix seem to have a you can get away with. Some engineers ask, compression, or adjust the vocal focal point? At any part in the “Can I notice the reverb only when it’s turned 10 levels with automation. The lat- song, is there something that off?” ter sounds more natural. 17grabs your attention, or is every- Is there enough stereo spread? If you Do the vocals sound too small or thing equally loud? You know the vocal is too pan vocals and most instruments to squashed? Usually, that means quiet when it doesn’t stand out from the back- the middle, you have essentially a you are applying too much com- ground a bit. 4mono recording. Spread things out a 11pression. You might reduce the Are vocal harmonies at the right little. Try panning two similar guitar parts hard compression ratio to 3:1 or less, and/or raise level? Generally, a harmony left and right, or pan guitars left, and keys right. the threshold so that the gain reduction is 6dB vocal’s level should be below the Is each instrument’s sound appropri- or less. 18lead vocal just enough so that the ate for the song? For example, a twangy Is the overall sound harsh, or is melody of the lead vocal is clear. If a harmony bass or an edgy kick seldom work in a it warm and pleasant? If it’s harsh, line is too loud, the listener isn’t quite sure 5ballad. Turn down the upper mids if maybe there is too much who’s singing the melody line. those sounds are too bright and distracting. 122kHz–4kHz in the mix. Or maybe Is the arrangement too busy? If Is the mix appropriate for the genre? there’s some distortion caused by excessive too many instruments play at the For example, if you’re mixing punk track levels or clipping plug-ins. Try reducing same time, a mix can turn to rock, a clean, tight sound probably the amount or type of compression, too. If the 19mush. Consider having guitar 6won’t work. If you’re mixing a folk song mix sounds edgy, reduce the highs a little, or licks just in the holes, not playing continuously. done by an acoustic group, you probably don’t use a tube or tape plug-in. Think call-and-response. Start the mix with want to hype the highs and lows. Instead, leave Is the overall sound muffled? If fewer instruments, and gradually bring them the tones natural. the mix seems lackluster or weak in so that the mix builds. Is each instrument in its own spectral in the treble, maybe you need to Is the mix musical? This one space? If multiple instruments play in 13boost the upper mids or highs a is hard to define in tech terms. the same range of frequencies, they little. Try boosting electric guitars around Can you feel the emotion 7can cover up each other’s sound. Then, 2kHz–4kHz, vocals around 5kHz–10kHz, toms 20expressed in the lyrics? Does they blur together and sound indistinct. You around 5kHz, kick around 4kHz, and cymbals the song make you want to move or dance? might roll off the lows in the guitars so they around 12kHz. Or cut a little around That depends on the song and its perform- don’t compete for space with the bass guitar. 250Hz–600Hz instead. ance, but it also depends on the mix. —Bruce Then, thin out the kick and keep the bass full, Is the mix dynamic? Do the cho- Bartlett or vice versa. ruses get more sonically exciting Is the mix competitive with commer- than the verses? If not, you might cial CDs? Plug a CD player into your 14need to bring up the overall level monitoring system. Put in a CD (or sev- a dB or two in the choruses, switch to a differ- 8eral) of the same genre that you are ent guitar timbre, add a doubled vocal, increase

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34 STEPS TO CRAFTING DYNAMITE MIXES Mix It!

4 WAYS TO ANIMATE YOUR MIXES

here’s nothing wrong with your typical, full-bandwidth stereo ambient environments define your mix. There’s nothing wrong mix, accept that it is, well, typical. The stereo field wraps with a big, juicy wash of reverb, but it won’t animate your sound Tevenly around your ears, the frequency spectrum is bal- stage. Here are a few ideas to experiment with as you develop your anced, and, thanks to the current obsession with loud, the track own dimensional sleight-of-hand: hits you in the face like a boxer’s punch. Is that really the most dra- • Leave the kick, snare, and toms dry, but add a medium reverb matic and stunning way to present your music? to the overheads. Well, if you crave an IMAX-style audio experience you’ll have • Leave rhythm guitars dry, but add reverb to solos and/or riffs. to jettison conventional methods and start screwing up your mixes • Try putting pre-fader “ghost-style” reverbs on a selected instru- big time. After all, drama is often achieved by introducing an antag- ment. This is where the source sound is not audible—just the reverb onist, and, depending on the style and vibe of your music, that effect. adversary can evoke anyone from Scooby-Doo to Hannibal Lecter. • Fade a slapback echo behind the lead vocal, and put gallons Let’s explore four options for transforming a mix from a static, one- of reverb on group background vocals, but fade them way back in dimensional “sound portrait” into a thrilling animated soundscape the mix. of wonder and delight. DYNAMICS STUPID STEREO As I mentioned earlier, many artists and producers destroy every When stereo appeared on pop records in the ’60s, the “new” lis- last drip of dynamic range in order to make their tracks sound as tening experience was often boldly presented with extreme left/right loud as possible through various playback systems. (Metallica’s mixes, such as vocals on one side and instruments on the other. Death Magnetic anyone?) Again, there is nothing wrong about want- Panning got pretty nutty in the psychedelic era, and, after that, ing your tunes to explode out of car speakers, earbuds, and boom many mixes seemed to settle into faux concert perspectives where boxes, but the absence of soft sounds and loud sounds will make sonic elements were somewhat evenly distributed across the stereo your mixes appear one-dimensional. Digital media offers a wide field. An animated mix, however, has no patience for balance or dynamic range, but it may take some gravitas to embrace it, as the subtlety. It is like a loud, boisterous guest at a dinner party who is softer elements of your mix will definitely not do any leaping out constantly calling attention to himself. So to animate your stereo of your speakers. However, an animated mix presents numerous spectrum, you should experiment with jagged perspective shifts perceptual dips, drops, rises, and zigzags—just like a roller coaster— that snap a listener’s head around. Take some cues from early sin- so you must fearlessly seek a near-orchestral approach to dynamic gles by the Beatles, Paul Revere and the Raiders, and just about any range. For example, consider making a breakdown a break down, band from the Nuggets anthology. Always pan hard right or hard where you don’t simply pare away the density of the instrumental left, or ping-pong from one side to the other. Put selected instru- mix, but you also diminish the volume levels in a musical way. In ments solely on one channel or the other. Splitting layered guitars addition, don’t be afraid to allow the song to rise to a crescendo right and left is almost a cliché these days, but are you brave enough from a soft intro, or drop to silence after a huge chorus and then to put the electrics on one side and the acoustics on the other? have the track almost immediately crash back even louder. Drama Never employ stereo background vocals, just toss ’em over to the is your goal, and the more dramatic you can get, the more your left or right. Getting the idea? Your mix elements should stand out mixes will come alive. Get off that compression carousel! boldly and demand that you notice them. When the listener does- n’t know what to expect, then you’ve truly animated your music. THE UNEXPECTED This is perhaps more of an arrangement technique than a mix DIMENSION strategy, but be sure to insert minute musical, tonal, or textural ele- Messing with spatial relationships is also critical to animating ments that only happen once in a section. As with the spatial, a mix. A compelling balance of things moving front and back is as ambient, and dynamic applications previously discussed, these valuable as shifting a listener’s focus left and right. This may be “little surprises” are tremendously helpful for seducing a listener’s painful for reverb and delay hounds, but in order to intensify your attention. The surprise could be as subtle as, say, an E-Bow line fol- track’s dimensional interest, you’ll have to leave some mix elements lowing the chord progression for just four bars, or a long delay that totally dry. Of course, you’ll also get to bathe some elements in hits the vocal on the last line of a chorus, or a piano motif that drops ambience, as well. (Feel better?) Thinking in cinematic terms, your into the first phrase of the bridge and then disappears. And, of dry sounds will be foreground elements, and your wet sounds will course, if you really want to animate these surprises, impose extreme become background elements. It’s critical, therefore, that you resist stereo, panning, ambient, and/or dynamic effects upon them. — all instincts to make nice with reverb, and let one or two broadly Michael Molenda

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10 Ways To Conquer Plug-Ins

lug-ins need power. CPU power. But, amount of power so you can “red-line” the DSP particular model (Panasonic DA7). If I need CPUs can’t supply infinite amounts without fear. With your CPU, sometimes run- more high-quality EQ than the computer can of power. Get the picture? Run too ning too close to the edge will cause a meltdown handle, I’ll send out individual tracks or pre- many plug-ins, and your CPU will act when the CPU has to perform that one extra mixes to my mixer via the Creamware interface’s Plike an overdrawn bank account. And you’ll function. Cool bonus: Hardware-based plug-ins light pipe. Then it’s time to use the mixer EQ. hear the results: Audio gapping, stuttering, and are often platform-independent. Either I’ll return the mixer out back to the host, maybe even a complete audio engine nervous or with some projects, do my mixing in the DA7 breakdown. Bottom line: If you need to use pro- AUX BUS BEATS itself, using that old school “move the faders” cessing in your mix, you want as much available INSERTS technique. Cool bonus: The outboard mixer’s power as possible. Here are the Top Ten tips on Inserting one effect in an aux bus is much more aux bus is an ideal place for putting a reverb. how to get it. efficient than inserting multiple instances of an And, you get to mix with real faders. effect in multiple tracks. Of course, there are UPGRADE YOUR CPU some cases where an effect must be limited to FREEZE YOUR TRACKS Let’s get the most expensive option out of the a single track. But for something like reverb, Soft synths, especially ones that sound good, way first. Because plug-ins eat CPU cycles, the which tends to draw a lot of juice, see if it isn’t suck power like there’s no tomorrow. “Master- faster your processor can execute commands, possible to do the aux bus option instead. Some- ing quality” signal processing plug-ins also like the more plug-ins it can handle. Although there times, even EQ can work as a bus effect. For to drink at the CPU power bar. So, use your host’s are a few other variables, as a rule of thumb, example, suppose you miked a bunch of acoustic “freeze” function to convert tracks that use real- higher clock speeds = more power for plug-ins. percussion, and feel all the percussion tracks time plug-ins into hard disk tracks, which are Still running in the sub-GigaHertz range? Time need to be brightened up a bit. Send them to a far more efficient. for an upgrade. Cool bonus: Any kind of “ren- stereo bus, and insert a single EQ into that bus. dering” (applying effects, format conversion, USE SNAPSHOT and so on) will happen faster, too. TURN OFF WHAT’S AUTOMATION NOT NEEDED Plug-ins aren’t the only things that stress out INCREASE LATENCY Anything that’s active is making demands on your CPU: Complex, realtime automation also And in the spirit of equal time, here’s the least your CPU. Using only one band of a four-band chows down on CPU cycles. So, simplifying expensive option: Increase your system latency. EQ? See if you can turn off the others. Even your automation curves will leave more power When you’re recording, especially if you’re doing input and output drivers drain your CPU. When available for the CPU to run plugs. Your host real-time processing (e.g., playing guitar through you’re mixing, you probably don’t need any of may have a “thinning” algorithm; use it, as you a guitar amp simulation plug-in) or playing soft your sound card’s input drivers to be active generally don’t need that much automation synths via keyboard, low latency is essential so (with an exception we’ll cover next)—go ahead data to do the job (particularly if you did real- that there’s minimal delay between playing a and disable them. time automation with fader moves). But the note and hearing it. However, that forces your ultimate CPU saver is using snapshot automa- CPU to work a lot harder. Mixing is a different GET HARDWARE INTO tion (which in many cases is all you really need deal: You’ll never really notice 10 or even 25ms THE ACT anyway) instead of continuous curves. of latency. The higher the latency, the more plug- Reverb is one of the most CPU-intensive effects, ins you’ll be able to run. Some apps let you adjust period. A native reverb that sounds good will CHECK YOUR PLUG- latency from a slider, found under something show no mercy to your CPU, which is why some IN’S AUTOMATION like “Preferences.” Or, you may need to adjust of the best reverbs come from hardware-based PROTOCOL it in an applet that comes with your sound card. plug-ins. But you can also use an external hard- Our last tip doesn’t relate to saving CPU power, ware processor. Dedicate one of your sound but to preserving sound quality. Many plug- USE HARDWARE- card output buses to feeding the reverb, and ins and soft synths offer multiple ways to BASED PLUG-INS bring it back into an input. But, you say, there automate: By recording the motion of on- Several companies make high-performance will be some latency going through the reverb. screen controls, driving with MIDI controller audio DSP cards. These either insert into your Well, you’re right. Think of it as free pre-delay, data, using host automation (like VST or DXi), computer, or connect to it via a fast interface, or record the reverb to a track and shift it ahead and so on. However, not all automation meth- like FireWire. The cards run their own propri- in time if you’re really picky. ods are created equal. For example, moving etary plug-ins (although they often enjoy panel controls may give higher internal reso- third-party support), so the plugs don’t load down SEND STEMS lution than driving via MIDI, which may be the host CPU—the boards handle the heavy lift- TO A MIXER quantized into 128 steps. Bottom line: Using ing. Although these boards will eventually say A digital mixer remains an important part of the right automation will make for smoother “No mas!” as well, one advantage compared to my setup, not only because it’s useful while filter sweeps, less stair-stepping, and other CPU-based processing is you have a finite, known tracking, but because I really like the EQ in my benefits. —Craig Anderton ●

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Master It!

Home-Studio Mastering Tips & Techniques BY CRAIG ANDERTON

et’s get one thing out plug-ins. However, if your master- • Roll off low frequencies in tracks that don’t of the way: There’s ing needs aren’t too demanding, have any low frequency energy. You don’t want mastering and there’s there are several ways to master any subsonic signals to work their way into a Mastering. Mastering, using conventional multitrack mix or a final master recording. as in this is a crucial recording programs. Interestingly, • Don’t normalize any of your mixes, as that CD for your band, some can even do tricks conven- means another stage of DSP (which may Lyou’re going to duplicate 1,000 tional digital audio editors can’t do. degrade the sound), and you may need to copies, you want to blow people change the overall level anyway when assem- away when they hear it (“You only MIX WITH bling all the mixes into a finished album. get one chance to make a first THE MASTERING • Always make copies of your original impression”), and you don’t want any PROCESS IN mixed, high-resolution files prior to master- mistakes. This is when you call in the MIND ing. If the song is later remastered for professional who has done this There are several steps you can take DVD-Audio, included in a compilation, or used dance a zillion times before, and will while mixing to make for easier mas- in any other context, you’ll want a mix that’s squeeze every last bit of musicality tering. You should do these whether as easy to remaster as possible. out of your creation. Yeah, you’ll you plan to master material your- pay—but, hopefully, when you look self, or hand your project to a REALTIME MASTERING back (and assuming you chose the mastering engineer. A major difference with mastering in a host right mastering engineer, which is a • Always mix with the highest res- program is that you have the option to adjust whole other issue), you’ll think it’s olution possible — don’t downsample mastering processors (which affect the final the smartest move you ever made. or do bit reduction (dithering) until mixed output) as you mix. With digital audio But then there’s mastering, with the very end. editors, you are always working off-line with a a small “m.” It’s the demo that the • Add any fade-ins or fade-outs previously mixed file. However, there are advan- band listens to when deciding the Fig. 1—This stereo during the mastering process, as tages and disadvantages to both methods. The song order, the live recording that output bus in Cubase you’ll have a better sense of the ideal process of mixing is daunting enough without gets sold at gigs, the 30-second spot SX is dedicated to fade time as you do the mastering. throwing mastering into the equation; still, for Mighty Dave’s Kool Kar dealer- mastering effects. • Don’t trim out all the “air” at the mastering while you mix means you know ship, and the narration for the kiosk The PSP MasterQ and beginning of a tune. A clean sample exactly what the final version will sound like. video done by one of your regular a multiband com- of this may be essential if you need Another consideration is that many peo- clients. You’re not going to hop on pressor goes to apply any subsequent noise ple feel that separating the mixing and the first plane to Maine and beg Bob pre-fader, while the reduction or other audio restoration mastering process is beneficial to both, as they Ludwig to do the mastering, so you UV22HR dithering process, as the sample of hiss, hum, are different disciplines. You might want to decide to master it yourself. But do plug-in goes into the or whatever can be loaded into a “sleep on your mix” before mastering it. you really need a separate digital post-fader slot. noise reduction program that math- If you decide to master as you mix, you’ll audio editor with a bunch of pricey ematically subtracts the noise from be inserting mastering processors in buses. plug-ins, or have DAWs progressed to where the track. Besides, sometimes you don’t want This is because when you create a non-sur- you can do it all without leaving your favorite too abrupt a transition between dead silence round multitrack project, eventually all the host software? and the beginning of a track. tracks are going to dump through a mixer into First off, 95 percent of mastering is not in • Don’t add any processing to the overall a master stereo output bus. As with individual the tools, but in the ears. If you have good ears, mix, just to individual channels—processing channels, buses have provisions for adding you can probably convince your DAW to do a completed mixes is best left for mastering. plug-in effects. How effects are accommodated decent job of mastering. Granted, most home- • As you mix, watch closely for distortion. depends on the program. For example, with studio, computer-based mastering is done with A few “overs” may not be audible as you listen Sonar the buses have standard effects slots, specialized digital audio editing programs that to the mix, but may be accented if you add EQ just like tracks. But Cubase SX has a few extra offer deep navigation facilities, the ability to or limiting while mastering. It’s better to con- touches—both pre- and post-fader/post-EQ zoom in on waveforms, pencil tools to draw cede a few dB of headroom rather than risk slots for effects, as well as excellent dithering out clicks, and include mastering-oriented distortion. algorithms for doing bit reduction (Fig. 1).

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Master It! HOME-STUDIO MASTERING TIPS & TECHNIQUES

MASTERING DO’S & DON’TS

ne of the most-asked questions I hear from musicians is RESOLUTION how to prepare audio files properly for mastering. After all, Always deliver the highest possible resolution digital audio files for Oyou want the mastering engineer to have the best possible mastering. If your hard-disk recording setup offers 20-, 24-, or 32- raw materials. Following are some guidelines relating to the three bit—as well as 48, 88.2, 96, or 192 kHz—capability, it’s to your most common issues: volume, resolution and editing. advantage to utilize it. Even though your audio files will eventually convert to 16-bit/44.1 kHz for the CD’s commercial release, editing VOLUME done on the files before that point will be much more transparent- A common mistake the well-meaning musician makes is attempting sounding when processed at a higher resolution. While it’s okay to to get a mix as loud as possible. As far burn audio CDs to reference your as I can tell, this is because most peo- work, always make sure that what you ple don’t know whether mastering deliver for mastering is the same res- addresses this issue (FYI, it does). Many olution as what you used while artists—believing it’s better to be safe recording and mixing. than sorry—do one of two things: nor- malize their tracks, or send them EDITS through a compressor/limiter (or some Another common problem comes sort of “finalizing” plug-in). Unfortu- from musicians who’ve already done nately, both degrade sonic quality and intro edits and outgoing fades, neither delivers the desired result. because “the song only needs EQ and Contrary to common belief, nor- level treatment.” Contrary to com- malizing does not make tracks as loud mon lore, adding fades does not as possible. The normalization make the mastering engineer’s job process scans a digital audio file and This narration example was recorded on location, and had any easier, and in some ways it can looks for its peak volume, then moves severe camcorder noise. Fortunately, it was sent for mas- make specific tasks nearly impossi- that point up to digital zero. All other tering with the end untrimmed, thus making it easy to grab a ble. Consider a recording that needs sounds in the file are adjusted pro- piece of the noise (the yellow stripe toward the right) for to have some electronic hum or portionally. So, if the file’s loudest use in a noise-reduction program. microphone hiss removed. To do this point is a snare hit that registers one successfully, a bit of that noise must dB below digital zero (-1 dBFS), normalizing will make the entire be taken from a part in the song where there is no music, so as to track one dB louder. This is hardly what most users of this function effectively isolate a digital “fingerprint” and create a filter. Ironi- are trying to achieve. Furthermore, normalizing does nothing to cally, the best place to take this fingerprint is the few seconds before address the average volume of songs—which is more crucial for or after a song. If that space has been removed, it is much more the proper aural perception and flow of a good CD. difficult to get a good sampling of the problem noise. Another problem occurs when musicians add a “mastering” If you need an exact fade or edit point in the recording, it’s best plug-in to the mixdown process. I receive a lot of files that have to carefully document these requirements (H:M:S) on a song-by- been treated this way and it creates two problems. First, the files song basis for the mastering engineer. Accuracy can be confirmed may be so hot that they overload any process applied in master- in the reference disc. ing (equalizer, limiter, etc.). Second, the process’s effects cannot The next time you’re working on a project, keep these concepts be removed, so I have to pull every trick in the book to counteract in mind. They will give your mastering engineer the necessary flex- the plug-in’s negative effects. This turns mastering into an audio ibility to bring out the best in your music, and result in a more salvage effort, not a fine-tuning improvement process. professional-sounding product. —Paul Abbott

If a program doesn’t include a post-level to create a mastered file: DAT recorder. This will record the final, mas- control effects slot, try feeding one bus into • Export the track (also called bounce or tered song, although again, you’ll still need to another. Insert the effect that should be post- render) to hard disk. This reads the final mixed assemble these. level control into the second bus, and leave the output signal, including the results of any • Send the output through analog master- second bus output level control at 0. Control effects you’ve added, and writes the file to hard ing processors, record their outputs into two overall level at the output of the first bus. disk. Note that it still needs to be assembled empty tracks in your multitrack, then export Once any effects have been added and with other tracks to create a complete CD. those tracks to your hard disk. edited as desired, you have three main options • Send the output to a stand-alone CD or A different technique is a compromise

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HOME-STUDIO MASTERING TIPS & TECHNIQUES Master It!

between mastering as you mix and master- more transparent because dynamics control in ing offline. After hearing a mastered song, one frequency band doesn’t affect other fre- you’ll sometimes wish you had mixed the song quency bands (Fig. 2). However, some people a little differently. For example, the master- like slamming a stereo compressor because ing engineer might add some compression they can hear some “pumping” and “breath- that subtly changes the mix, requiring you to ing,” which can give more of a vintage sound. go back and do a quick remix (let’s hear it for Another popular option is a loudness max- mix automation). imizer plug-in. This type of processor can greatly So, to create a more “mastering-friendly” mix, increase the overall average level, producing a consider adding some multiband compression “hot” sound. These plug-ins are often overused and overall EQ (usually a little more high end on today’s recordings, which creates distortion “air” and some tweaks in the bass) in the mas- and degrades definition. I advise increasing the ter bus to create a more “mastered” sound. Mix Fig. 2—iZotope’s Ozone 3 is a mastering suite amount of maximization until you can hear the the tune while monitoring through these proces- of processors that can also work well as a effect working. Then reduce the amount so you sors. Then, when you render or otherwise save master bus effect. This shows the multiband don’t hear it working. Eventually you’ll find a the file, bypass the master effects you used. This compressor in action, but note that the loud- “sweet spot” between retaining good dynam- results in a raw mix you can master in a sepa- ness maximizer stage is also active to add a ics and increasing overall loudness. rate program, or give to a mastering engineer, subtle amount of brickwall limiting. No matter what form of dynamics control who anticipates the use of mastering processors you use, it will affect the mix by reducing peaks but doesn’t incorporate their effects in the file. and bringing up lower level sounds. This is Should you do this, you may need to tweak the equivalent to having a more “even” mix, and overall level when you remove the processors. might be desirable. But if the mix ends up sounding too uniform, reduce the amount of MASTERING maximization. Peaks and valleys are essential INDIVIDUAL TUNES to a satisfying listening experience. A really IN YOUR DAW “loud” cut may seem impressive at first, but is Mastering a multitrack project in real time is fatiguing after a short period of time. a fairly new technique that’s definitely not for Add EQ. For mastering, you’ll hopefully be everyone. So, let’s look at two approaches to dealing in broad strokes — a mild bass cut, or mastering that use the DAW more like a stan- a little high-end lift — because any serious dard digital audio editor. Fig. 3—PSP’s MasterQ is a fine example of an response issues were dealt with during the mix. The more “old school” approach is to take EQ designed specifically for mastering. It has This is why many older equalizers, like the Pul- each tune, master it, save it as a stereo (or sur- low pass, low shelf, high pass, high shelf, and tec, are favored for mastering; they have a round) file as a separate operation, then three parametric sections. subtle, yet pleasing, effect on the sound. Plug- assemble all the tunes into a cohesive whole. ins like PSP’s MasterQ (Fig. 3) and the UAD’s A newer approach is to assemble all the tunes Pultec emulation fulfill this role in software. in a workstation, and apply any processing, Reduce peaks using automation envelopes. If significant EQ problems exist, like large level changes, etc. on a more global level. Basi- If some peaks are significantly louder then the midrange or low-end peaks, you’ll likely need cally, this combines both mastering and rest of the material, this reduces the chance to to plug in a full-blown parametric EQ, and assembly as one operation. Let’s look at the have a higher average level, as the peaks use up tweak out the individual problems. individual song approach first. much of the headroom. One solution is to add Your DAW probably includes EQ, but be Open up a new file in your DAW, and import limiting, but another option that can affect the careful about using it. The DAW’s EQs were the mix into a track. If you need to process the sound less is to use an automation envelope to likely optimized so you can open lots of right and left channels independently (e.g. reduce the levels of just those peaks. If the instances at the same time, which means they there’s an instrument in the left channel that automation works on just a few cycles of the can’t get too nuts about consuming CPU power. has excessive treble, and you want to EQ just waveform, you probably won’t hear any differ- “Mastering oriented” plug-ins tend to eat more that channel a bit without processing the right ence compared to not reducing that peak; but power, but it doesn’t matter because you’re channel), then separate the stereo file into two once the major peaks are reduced, you’ll be using them on a simple stereo file, or inserted mono files. Most software will let you do this able to raise the overall level. (And if you do add in a stereo bus, rather than using a lot of as part of any “bounce to track” function. You any compression, it won’t have to work as hard.) instances on individual tracks. may also be able to bring a stereo file into two Add dynamics processing.Generally, you’ll Other goodies. Some people swear by par- tracks, use the balance control to separate the use a dynamics plug-in for the track holding ticular plug-ins for mastering, like “exciters,” left and right tracks, then recombine them. the file, or possibly for the bus it feeds. Multi- stereo image wideners, and the like. I tend to Here are some of the editing operations you band dynamics processors are your best option; avoid these because in most cases, dynamics might want to do: compared to standard compressors, they’re and EQ cover 99 percent of what’s needed. But

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in some situations, a little high-frequency exciter helps add a different kind of sparkle than EQ, and once I even added a phasing effect in the middle of a tune during a spoken word part (the client loved it). If a mix has a certain direction, it’s often best to enhance what you have rather than try to turn it into something different. Fig. 4—The tracks to be assembled sit in alternate Sonar tracks. The first and second tracks have MASTERING AND the “industry standard” two-second space between them. The second and third tracks have fades ASSEMBLY IN A DAW added so they crossfade. The Master buss has a PSP MasterComp inserted to do compression. Note You can do album assembly in a multitrack the waveform preview that Sonar generates in the Master bus as the file plays back, which makes host, either of individual, previously mastered it easier to verify clipping isn’t taking place (otherwise, part of the waveform would turn red). cuts, or of raw mixes that you master and Also note the small green “flags” in each clip that indicate the maximum level that was attained. assemble as you go along. With the second After listening all the way through and verifying all is well, the entire file would be bounced to disk. option, you bring the tunes into the host pro- gram, arrange them in the desired order and, Output level clipping indicators aren’t very when complete, render the whole thing to disk helpful for serious mastering; an unambigu- as one large file. If needed, you can then import ous numeric readout at the output that this into a CD-burning program to add track indicates the peak level relative to 0 (called the markers, CD Text, etc. Note that some programs “margin”) is much better. For example, +1.7 include CD burning as part of the program. would mean the maximum signal was 1.7dB When assembling within a DAW, files can above 0; -0.8 would indicate the maximum sig- be placed end-to-end in a single track, each in nal came within 0.8dB of the maximum its own track, or different files in different tracks available headroom (Fig. 5). (Fig. 4). For example, one project I mastered Meters that flash these values are helpful, had three distinctly different “flavors” of mixes: Fig. 5—The soundtrack for a video I shot as the but a “peak hold” feature is more useful Some were mixed in a studio that probably had Frankfurt Musikmesse is being mastered in because you don’t have to keep watching the bad acoustics, because the bass was too heavy. Sony Vegas. Note the peak hold levels (circled meters — just check levels at the end of the Another set of mixes was very neutral (just the in red) that indicate the maximum level song, and adjust the output faders accordingly. kind I like to work with). Another set had com- attained was -0.1dB—perfect. The values cir- Assuming the faders themselves are also cal- pression applied to the master bus, and were cled in blue indicate the fader setting of 0.0, ibrated, here’s an example of how to use this already somewhat squashed. which is also pretty much ideal. feature. Suppose the current fader setting is 0 I sorted each type on to its own track, and and at the end of the song, the readout displays applied the same processing to like-sounding • For dance or continuous DJ mixes, you a margin of +2.0dB. Bring the fader down to –2.0, files—the bass heavy ones needed the same can dedicate a separate track for transitions or and the next time you play the tune all the way kind of bass EQ, whereas the neutral ones sound effects. through (after first resetting the meter value, of needed a different type of EQ. I also added • Add effects automation to vary effect course), the maximum level should hit 0.0. instances of multiband compression to both parameters in real time (e.g., increase a high However, you don’t want the margin to be of these tracks. The songs that were already pass filter’s cutoff as a song fades so it seems to 0 but instead slightly less, like -0.1dB below compressed didn’t get any multiband com- “disappear” just before the next track comes in). maximum. If a tune has peaks that hit 0 for pression, but did need a fair amount of EQ. • Use automation to do extremely sophis- more than a few milliseconds, it may be This created a few peaks, so I added a slight ticated fade ins and fade outs. rejected by a CD pressing plant on the assump- amount of limiting. This process essentially creates a “meta- tion that those peaks represent distortion. mix,” where instead of mixing individual tracks GETTING CREATIVE to create a two-track file, you’re mixing two- “MASTERING” Because you’re assembling in a multitrack envi- track files to create a final album. MASTERING ronment, you can do tricks that are difficult to I certainly don’t mean to imply that following do in typical stereo editors. Here are some: SETTING LEVELS the above techniques will make you a master- • It’s easy to create just about any type of Channel headroom isn’t much of an issue in ing engineer. However, if applied correctly you’ll crossfade within a host, either through an auto- today’s DAWS, which use 32-bit floating point, end up with mixes that sound better than if matic crossfade function where overlapping 48-bit fixed, or even 64-bit resolution. How- you’d just left them alone — and that’s the two tracks creates a crossfade, or by having the ever, when you sum them all together at the whole point. Besides, if you start working on tunes on separate tracks and adding fade master bus, overloading is a definite possibil- your mastering chops now, you just may dis- ins/outs manually. ity unless levels are set properly. cover a whole new outlet for your creativity. ●

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Market It!

Get Yourself Out There! BY JEFF ANDERSON AND MATT HARPER

e’re all artists, and self ruthlessly. “But how,” you may ask, “do I there is definitely an air of professionalism that thus by default a bit do that without breaking the bank?” is conveyed in “real world” marketing tactics. averse to all that Following are some choice tactics—many Let’s look at some relatively affordable means business nonsense. of which are free, and the rest of which are rea- of marketing outside the web. In a perfect world sonably cheap—for reaching potential fans, scenario, we’d all be music lovers, and other musicians, and luring FLYERS leftW alone to just make good albums, work with them into your musical world. It’s an age-old approach that absolutely should musicians we like, and go to bed not worrying be exploited, as it’s cheap, easy, and relatively about marketing, promotion, and all the stuff MULTIPLE non-time consuming. The creation process is we need to do to get known and drive towards MARKETING OPTIONS so simple that it hardly needs to be explained success. But if you’re lost in the crowd, the While online marketing is quickly becoming here—even a nominal working knowledge of blame may be yours for not effectively mar- the route of choice for many businesses— and Photoshop will suffice. Price of copies is rather keting your music, your band, and/or your we’ll discuss this options in a bit—but the low, but it’s worth the extra expense to spring studio (if you do outside production and notion that banner ads and emailed press for color copies. In the world of advertising, recording work). releases are enough is built upon faulty logic. paying attention to aesthetics and design is Visibility is key in attracting fans and clients, There’s really something to be said for the tan- crucial. Your gut instinct may be to cram as and the best way to do that is to market your- gible, of which the web is anything but, and much information about your band, your next

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gig, or studio as you possibly can on one sheet Sticker Guy (www.stickerguy.com)—one of the counter.com), and then quantify the results. of paper. This, however, is not the best cheapest custom vinyl sticker manufacturers. However, that in and of itself is not enough, as approach—the beauty of a design is most often Even in small bulk quantities you will pay less your ranking is also determined by the num- in its simplicity. One or two well-taken photos than $0.05 per unit. Many companies special- ber of related pages that you link to and from. will suffice, and text should be limited to your ize in custom T-shirt designs. Therefore, it’s really important that you trade band or studio name, the release or gig you’re Of course there are plenty of other cool links with other bands, studios, rehearsal promoting, and pertinent contact info (web options for promotional products. Check out spaces, and in fact, almost anyone involved in site, Facebook, MySpace, etc.). The purpose of Westsky (www.westsky.com) for musician- the music business. the flyer is to be functional—this isn’t some- friendly swag, from guitar picks to drum sticks. thing that demands high art. And if you really want to get out there, Promo TRADING LINKS Placement of the flyer is of penultimate Peddler (www.promopeddler.com) offers vir- The primary goal of marketing is exposure, so importance; you must be visible to musicians, tually every kind of customizable product you should pursue appropriate link trades at fans, and potential studio/production clients. under the sun. every possible opportunity, as it’s necessary to Most music stores (particularly of the inde- have incoming and outgoing links from your pendent variety) provide bulletin boards, and WEB MARKETING site to maintain high search-engine rankings. if the real estate is available, most shopkeep- Taking the aforementioned strategies into If you don’t already have a page on your site ers will be cool with you placing a stack near account, it’s also wise to come with a double- devoted to links, you would do well to con- the counter or entrance of the store. Further- sided approach, and that means branching struct one immediately, and once you do this, more, colleges that have music schools usually out into the web and getting your music you should make it a policy exchange links with have free bulletin boards for classified flyers and/or studio piped down into every com- other bands, and even local music stores, in their musical facilities—use these too. puter. The beauty of web marketing is that it’s rehearsal studios, professional recording stu- A smart approach, and one oftentimes used generally (and this is comparatively speak- dios, and any other business that will embrace by concert promoters and the like, is to print ing) cheaper than “real world” marketing, and the practice. up 3" x 5" handbills and stand outside of ven- incredibly effective to boot. So let’s take a look ues directly after a show and distribute them at some of the best ways to become visible via SOCIAL NETWORKING manually. Sure, most of them will be folded up the web. Obviously, MySpace, Twitter, and Facebook in pockets and never given a second glance, It’s a pretty safe bet that you already have a offer mammoth promo opportunities for musi- but the purpose here is recognition, and one website devoted to your band or studio, but is cians. Taking this into account, it’s downright or two sets of eyes can go a long way. it up to par? You should have, at bare minimum, negligent to not take advantage of these mas- pictures, bios, mp3 downloads, videos, and gig sively trafficked sites that let you utilize their MERCHANDIZING announcements. (If a picture is worth a thou- outreach and dive into their global communi- At first glance, promotional products can sand words, then a video is worth a million.) ties for free. Signing up is easy, and you can appear as a waste of monetary resources, and promote gigs, provide links to your mp3s and the concept itself, admittedly, is a bit cheesy. KEY WORD RANKING videos, and build communities that are inter- However, if they were largely ineffectual then Key word ranking involves constructing your ested in your act or studio or production it wouldn’t be a standard practice for many pages in a manner so that search engines can services. Voilà! Instant promotion to scores of businesses. Heavy brand circulation leads to prioritize your website to early result pages, potential fans. brand recognition, and recognition of your thus presenting you more quickly to prospec- brand (your band, your studio, your label, etc.) tive fans and/or clients. You can do some OTHER RESOURCES leads to increased business. research as to what keywords have been used Though all of the above are great starting The key to marketing via merchandise is to most often by your site visitors using programs points for taking your studio to the next level pick products that are of actual use to your tar- such as Word Tracker (www.wordtracker.com). in terms of marketing, it would be very impru- get demographic. As your business is going to Then, apply that knowledge toward develop- dent to stop here and not conduct further be supported by musicians and music fans, it’s ing more appropriate metatags that will help research so as to really understand the con- imperative that you pick musician-centric link you to search engines properly. And while cepts and strategies of marketing. There are a swag. Stickers and t-shirts are no-brainers, but you can certainly take the DIY route in regards ton of great online resources that are free and highly effective. Because stickers are likely to to meta tagging, depending on how fluent you offer all the information you could ever need be plastered on the side of guitar cases and are in webpage construction, you can also out- to apply to your own business for increased shirts will be sported directly by the musicians source the project to a number of companies. visibility and further growth. Guerilla Market- who receive them, you’re essentially being These companies can be invaluable for mar- ing (www.gmarketing.com) is an awesome site endorsed by public figures who hold a degree keting your studio via key word ranking. that is free to join and is jam-packed with tons of influence over their peers—which are all So make sure your keywords are right, then of articles and tips. Bards Crier (www.bard- potential fans and/or clients. T-shirts can get track your progress. You can go and grab a hit scrier.com) is a great e-zine that focuses on pricey, and thus should be distributed care- counter for free if you don’t already have one music marketing. So read up further on it, and fully, but stickers are super cheap. Check out from a site like Visible Counter (www.visible- prep yourself for a boom in your career. ●

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